tNIVERSITY  of  CALIFORNU 

AT 

LOS  ANGELES 

LIBRARY 


LIP-EEADING 

PRINCIPLES  AND  PRACTISE 

A  HAND-BOOK  FOR  TEACHERS  AND  FOR 
SELF  INSTRUCTION 


BY 

EDWARD  B.  NITCHIE,  B.A. 

PRINCIPAL  OP  THE   NEW  YORK    SCHOOIj  FOB  THB 
HABD-OF-HE.4RING  (incobpOBATED) 


REVISED  EDITION 


NEW   YORK 

FREDERICK  A.  STOKES  COMPANY 

PUBLISHERS 


Copjright,  1912,  1919,  by 
Frederick  A.  Stokes  Companv 

All  tights  reserved,  including  that  of  translation  into  foreign 
ianguages,  including  the  Scandinavian 


...      .- 
•  :  •  .         « , 


Eleventh  Printing 


Printed  m  the  Umted  States  of  America 


HV 
2481 

It)  IS 


TO 


MY   TEACHERS 


MUSIC 

The  ruder  strains  of  music  are  denied, 
The  music  of  the  human  voice  is  lost. 
The  gulf  of  silence  ever  grows  more  wide, 
My  bark  sails  noiseless  o'er  life's  swelling  tide. 
By  soundless  billows  tost. 

But  waves  of  harmony  forever  roll. 
Orchestral  cadences  e'er  fall  and  rise : 
The  mysteries  of  the  part  within  God's  whole, 
The  eternal  whisperings  of  the  Over-Soul 
Still  'trance  me  to  the  skies. 

Ceaseless  I  hear  the  God  of  Nature  call 
Where  green  and  gold  chant  anthems   in  the  wood ; 
The  meadows,  daisy-capped,  the  silver  ball 
Of  evening,  stars  and  surging  ocean — all. 
All  sing  of  Love  and  Good. 

It  is  the  symphony  of  symphonies 
Witliin  my  soul  I  hear, — to  live,  to  work. 
To  turn  my  back  on  stumbling  yesterdays. 
Soul-sure  defeats  may  e'en  be  victories 
If  e'er  I  fight,  nor  sliirk. 


1 


PREFACE 

This  book  is  the  sixth  of  my  text  books 
on  lip-reading,  and  as  it  embodies  everything 
which  the  previous  works  contained,  and 
considerable  in  addition,  it  is  intended  to 
replace  them.  Some  parts  of  the  book  ap- 
peared originally  as  articles  in  The  Volta  Re- 
view, "a  Monthly  devoted  to  the  problems 
of  deafness,"  published  in  Washington,  D.  C, 
and  acknowledgment  of  the  courtesy  of  allow- 
ing reprinting  is  hereby  made. 

Edward  B.  Nitchie 
18  East  41st  Street,  New  York, 


Vll 


PREFACE  TO  REVISED  EDITION^ 

We  have  tried  to  put  into  the  revision  of 
this  book  all  of  the  changes  Mr.  Nitchie 
had  made  in  his  methods  prior  to  his  death, 
but  have  not  attempted  to  offer  anything 
original.  The  work  that  is  being  done  at  the 
School  was  called  forth  and  developed  by 
Mr.  Nitchie,  and  we  are  too  near  to  his  time 
to  have  any  radical  changes  of  real  value 
to  offer.  Undoubtedly  there  will  be  further 
development  in  the  years  to  come. 

Both  the  system  and  methods  embodied  in 
this  book  are  the  results  of  years  of  study, 
and  of  experience  in  teaching.  They  were 
all  carefully  worked  out,  even  to  the  smallest 
detail,  and  arranged  in  accordance  with  the 
newest  psychological  principles.  In  fact,  the 
book  has  been  pronounced  "psychologically 
perfect." 

\\e  would  call  attention  to  the  more  im- 
portant changes,  such  as  the  story  program 
(pp.  54  and  96),  the  re-arrangement  of  the 
stories,  and  the  new  ones  that  have  been 
added.  Another  change  to  be  noted  is  the 
method  of  giving  the  Practise  Words  in 
Section  III.  (See  p.  97.)  Also  the  method 
of  giving  the  Proverl)s,  and  the  review  of  the 
Colloquial  Forms.  The  list  of  Homophenous 
Words  has  been  revised. 

Mrs.  Edward  B.  Nitchie. 
18  East  Ust  Street,  New  York. 


VI 11 


CONTENTS 

PAGE 

Preface vii 

Preface  to  Revised  Edition viii 

Foreword xiil 

PART  I 

CHAPTER 

I.  The  Eye  as  a  Substitute  for  Deaf  Ears    3 

II.  Teaching  Aims       14 

III.  To  the  Friends  of  the  Deaf    ....  23 

IV.  Conversation  Practise 36 

V.  How  to  Use  Stories 44 

VI.  The  Study  of  the  Movements       .     .     .  55 

VII.  Vowels 61 

VIII.  Consonants 64 

IX.  Word  Practise 70 

X.  Sentence  Practise 76 

XI.  Mirror  Practise 81 

PART  II 

First  Outline  of  Daili/  Practise,  through  Sec.  Ill     .  93 

Sec.     I.  Stories  for  Practise 101 

II.  Conversations 141 

iz 


X  CONTENTS 

PAGE 

Sec.  III.  Lessons  on  the  Movements       .     .     .174 
Consonants  Revealed  by  Lips      .     .174 

Extended  Vowels 176 

Consonants  Revealed  by  Lips  (cont.)   181 

Relaxed  Vowels 183 

Consonants  Revealed  by  Lips  (cont.)   189 

Puckered  Vowels 195 

Consonants  Revealed  by  Tongue.     .  201 

Diphthongs 207 

Consonants    Revealed    by    Context  213 

Diphthongs  (cont.) 218 

R  after  a  Vowel 224 

Variant  Sounds 229 

Unaccented  Vowels 234 

Second  Outline  of  Daily  Practise,  through  Sec.  VI  .  245 

Sec.  IV.  Exercises       249 

Vowel  Exercises 249 

Consonant  Exercises 255 

Double  Consonant  Exercises    .     .     .  260 
Double  Consonant   Contrast    Exer- 
cises        264 

Vowel  Exercises  in  Sentences  .     .     .  266 
Consonant  Exercises  in  Sentences     271 

Prefix  Exercises 275 

Exercises  with  Verb  Endings  .     .     .  277 
Suffix  Exercises 280 


CONTENTS  xi 

PAGE 

Sec.    V.  Colloquial  Forms 282 

Colloquial  Sentences 283 

Proverbs 287 

Colloquial  Forms 290 

VI.  HoMOPHENOus  Words 301 

APPENDICES 

A    Table   of   Vowels   and   Diphthongs     318 

B    Table  of  Consonants 320 

C    Bibliography 322 


FOREWORD 

LiP-READiXG  is  SO  presented  in  this  work 
that  it  can  be  studied  and  mastered  by  the 
hard-of-hearing  without  the  help  of  a  teacher. 
The  book  is  also  intended  for  use,  under  a 
teacher's  guidance,  by  the  semi-mute,  and 
by  the  congenitally  deaf  who  have  acquired 
speech  and  language.  Even  for  the  hard-of- 
hearing,  personal  instruction  under  an  ex- 
perienced teacher  is,  if  possible,  always  ad- 
visable. 

The  book  is  divided  into  two  parts:  first, 
explanatory  and  directive,  telling  how  to  prac- 
tise; second,  giving  materials  and  exercises, 
or  telling  what  to  practise.  Anyone  studying 
by  himself,  without  experienced  assistance,  is 
advised  to  begin  with  Part  I,  Chapters  IV-XI, 
doing  only  one  thing  at  a  time,  as  may  be 
directed,  for  several  practise  periods  until 
the  different  forms  of  practise  are  mastered. 
Then  the  work  in  Part  II  should  be  entered 

xiii 


xiv  FOREWORD 

upon  according  to  the  outlines  for  study  there 
given. 

An  experienced  teacher,  using  the  book, 
may  begin  directly  with  Part  II,  letting  the 
pupil  merely  read  the  preliminary  chapters. 


PART  I 


CHAPTER  I 

THE  EYE  AS  A  SUBSTITUTE  FOR  DEAF  EARS 

It  is  well  known  that  the  blind  in  a  measure 
substitute  hearing  for  sight;  sounds  of  traffic 
in  a  busy  street  are  a  confused  roar  to  the  un- 
trained ear,  but  to  the  experienced  blind  man 
they  are  a  fairly  reliable  guide  on  his  way. 

Even  to  a  greater  degree  can  the  deaf  man 
train  his  eye  to  substitute  for  his  deaf  ears. 

Watch  the  mouth  of  anyone  who  is  speak- 
ing, and  you  will  see  many  clearly  defined 
movements  of  the  lips,  perhaps  even  of  the 
tongue.  The  eye  trained  to  associate  certain 
movements  with  certain  sounds  has  the  power 
of  interpreting  these  movements  into  words 
and  sentences. 

A  very  large  percentage  of  the  deaf  are,  I 
believe,  incurable,  at  least  at  the  present  state 
of  medical  and  surgical  knowledge.  The 
greatest  loss  to  anyone  who  is  deaf  is  the  loss 
of  understanding  speech.  Inability  to  hear 
music  or  the  voices  of  nature  is  a  deprivation; 
but  inability  to  hear  spoken  language  is  a 

3 


4  LIP-READING 

calamity,  unless  other  means  than  the  ear  can 
be  found  to  convey  the  message  to  the  brain; 
for  in  the  abihty  to  understand  spoken  lan- 
guage lies  the  way  not  only  to  the  pleasures  of 
Hfe,  but  to  the  truest  necessities  of  the  soul 
and  body. 

Deafness  is  a  physical  bar  to  employment 
second  only  to  blindness,  and  bears  especially 
heavily  on  the  man  who,  dependent  on  others 
for  his  salary,  becomes  deaf  in  adult  life. 
Lip-reading,  or  speech-reading,  "that  subtile 
art,"  as  Dr.  John  Bulwer  said  in  1648,  "which 
may  inable  one  with  an  Observant  Eie  to  Heare 
what  any  man  Speaks  by  the  moving  of  his 
Lips,"  is  a  valuable  substitute  for  hearing,  as 
far  as  spoken  language  is  concerned,  though, 
like  anv  other  substitutes,  it  has  its  limita- 
tions.  By  it  the  sense  of  sight  is  forced  to' 
interpret  a  medium  for  expressing  thought 
which,  throughout  the  history  of  the  race,  has 
been  developed  for  the  needs  of  the  sense  of 
hearing.  I  shall  show  later  how  imperfectly 
spoken  language  is  fitted  to  the  requirements 
of  successful  lip-reading. 

The  problem  of  the  teacher  varies  according 
to  the  class  of  the  deaf  to  which  his  pupil  be- 
longs, for  the  deaf-mute's  needs  are  only  in 


THE  EYE  AS  SUBSTITUTE  5 

part  the  needs  of  the  hard-of-hearing.  iSIy 
work  lies  with  the  hard-of-hearing — and  by 
that  term  I  mean  those  w  ho,  either  partly  or 
totally  deaf,  became  so  after  having  acquired 
speech  and  language — and  it  is  of  their  prob- 
lem of  which  I  shall  speak  particularly.  It 
is  not  only  their  problem;  its  solution  becomes 
also  the  solution  of  the  problem  of  the  deaf- 
mute  after  he  acquires  speech  and  language. 

The  problem  of  teaching  lip-reading  is  truly 
a  psychological  problem.  Both  the  eyes  and 
the  mind  must  be  trained,  but  mind-training 
is  the  more  important  factor. 

The  difficulties  for  the  eyes  to  overcome 
are  two:  first,  the  obscurity  of  many  of  the 
movements,  and  second,  the  rapidity  of  their 
formation.  That  spoken  language  is  not  well 
adapted  to  the  purpose  of  lip-reading  is  evi- 
dent from  the  manj^  sounds  that  are  formed 
within  the  mouth  or  even  in  the  throat.  The 
difference  between  vocal  and  non-vocal  con- 
sonants is  invisible  to  the  eye.  The  aspirate 
A,  as  in  "hat,"  cannot  be  seen;  there  is  no 
visible  difference  between  "hat"  and  "at." 
The  consonants  formed  bv  the  back  of  the 
tongue  and  soft  palate,  h,  hard  g,  7ig,  are  sel- 
dom revealed  to  the  eye  of  the  lip-reader;  like- 


6  LIP-READING 

wise,  certain  tongue  consonants,  as  t,  d,  n, 
and  y,  present  almost  insuperable  difficulties. 
Double  tongue  consonants,  as  7it,  nd.  It,  Id, 
are  also  just  as  indefinite  and  obscure  in  their 
visible  formation. 

Rapidity  of  the  movements  is  another  seri- 
ous diflSculty  in  the  way  of  successful  lip- 
reading.  From  one-twelfth  to  one-thirteenth 
of  a  second  is  the  average  time  per  movement 
in  ordinary  speech.  This  is  the  average,  but 
some  movements  are  of  course  slower,  while 
others,  particularly  those  for  unaccented  syl- 
lables, are  much  quicker. 

With  such  difficulties  as  these,  the  wonder 
is  that  anyone  can  read  the  lips  at  all.  Eye- 
training  can  never  eliminate  them,  though  it 
can  lessen  them  in  a  measure.  The  method 
should  aim  first  always  to  study  or  see  the 
movements  in  words  or  sentences,  not  formed 
singly  by  themselves.  Sounds  pronounced 
singly  all  tend  to  be  exaggerated,  and  manj^  of 
them  even  to  be  grossly  mispronounced. 
Moreover,  one  movement  often  modifies  de- 
cidedly the  appearance  of  another  connected 
with  it  in  a  word.  For  example,  long  e  usually 
tends  to  show  a  slight  drawing  back  of  the 
corners   of   the   mouth,   as   in    "thief;"   but. 


THE  EYE  AS  SUBSTITUTE  »j^ 

after  sh,  as  in  "sheep,"  this  is  scarcely 
visible. 

In  the  second  place  the  method  should  aim 
always  to  study  or  see  the  movements  as  the 
words  are  pronounced  quickly.  It  is  true  that 
it  would  be  easier  to  see  them  when  spoken 
slowly,  but  it  is  also  true  that  to  produce  the 
best  results  the  eye  should  be  trained  from 
the  first  to  see  things  as  they  must  always  be 
seen  in  ordinary  speech,  and  that  is  rapidly. 

And,  in  the  third  place,  the  method  should 
aim  to  inculcate  a  nearly  infallible  accuracy 
and  quickness  of  perception  of  the  easier 
movements,  leaving  to  the  mind  in  large 
measure  the  task  of  supplying  the  harder 
movements. 

With  the  eye  thus  trained  it  often  happens 
that  the  lip-reader's  impression  is  that  of 
actually  hearing  what  is  said.  If  I  put  the 
tubes  of  a  phonograph  into  my  ears,  so  that 
I  can  hear  every  word,  and  close  my  eyes, 
unbidden  and  without  conscious  effort  the 
vision  of  the  moving  lips  of  the  speaker  form- 
ing the  flow  of  the  words  passes  before  my 
mind. 

Although  it  is  not  possible  for  the  eye  to 
see  each  and  every  movement,  it  is  possible 


8  LIP-READING 

for  the  mind  to  grasp  a  complete  impression 
without  even  the  consciousness  that  it  has 
"suppHed"  so  many  of  the  movements  and 
sounds.  The  chief  difficulties  in  the  way  of 
the  mind  in  hp-reading  may  be  indicated  by 
describing  that  type  of  mind  which  is  uni- 
formly most  successful,  and  that  is  a  mind 
which  is  quick  to  respond  to  impressions,  or 
quick  in  its  reaction  time,  and  a  mind  in  which 
the  synthetic  qualities  are  dominant.  The 
difficulties,  then,  are  to  overcome  the  opposite 
conditions  or  tendencies,  and  the  aim  is  to 
develop  the  mind  to  the  utmost  along  the  line 
of  these  favoring  conditions. 

Fortunately  thought  is  quicker  than  speech. 
Testing  myself  with  a  selected  passage  that 
I  know  by  heart  it  takes  me  fifteen  seconds  to 
think  of  it  word  by  w^ord,  and  thirty-five 
seconds  to  read  it  aloud.  To  develop  quick 
perception,  practise  is  the  essential;  that  is, 
slow  speech,  word-by-word  utterance,  must  be 
avoided,  and  all  forms  of  exercise  must  be 
given  to  the  pupil  up  to  the  limit  of  speed 
which  his  ability  will  allow.  This  undoubtedly 
makes  the  work  harder  for  the  time  being, 
but  it  results  in  more  ra})id  j)r()gress. 

Not  only  is  thought  quicker  than  speech; 


THE  EYE  AS  SUBSTITUTE  9 

thought  need  not  formulate  every  word  to  have 
clear  conceptions.  Thought  skips;  thought 
looks  ahead  and  anticipates.  So  that  a  cor- 
rect understanding  of  an  idea  is  possible  with- 
out a  word-for-word  accuracy.  That  is  the 
way  the  baby  understands  what  is  said  to  him. 
I  would  say  to  my  little  boy,  Vvhen  a  year  and 
a  half  old,  "How  does  daddv  shave  himself  in 
the  morning.^"  That  he  understood  every 
word  was  not  possible;  probably  "daddy" 
and  "shave"  were  the  only  ones  he  really 
knew.  But  that  he  understood  what  I  said 
he  made  evident  when  he  went  through  the 
motion  of  shaving  his  own  face  with  his 
finger. 

The  method  of  mind-training  should  aim  to 
develop  this  power  of  grasping  thoughts  as 
wholes,  and  to  avoid  strictlv  anvthing  that 
will  enhance  the  opposite  tendency  of  demand- 
ing verbal  accuracy  before  anything  is  under- 
stood at  all.  Minds  of  the  latter  type  are  literal, 
analytical,  unimaginative.  Yet  there  are  very 
few  who  are  altogether  of  this  kind;  most 
of  us,  however  analytical,  have  some  synthetic 
powers,  some  ability  of  j^utting  things  togetlier, 
of  constructing  the  whole  from  the  parts,  of 
quick   intuition.     It   is   by   developing  these 


10  LIP-READING 

powers  that  real  success  in  lip-reading  can  be 
attained,  and  it  is  by  working  along  these 
lines  that  the  surest  way  is  found  in  the  end 
to  the  understanding  of  every  word.  Even 
those  who  hear,  often  have  an  experience  like 
this :  Some  one  will  make  a  remark  which  you 
fail  to  understand;  the  word  "what"  is  on 
your  lips,  but  before  it  is  fairly  uttered  the 
whole  sentence  will  come  to  you  like  a  flash. 
When  this  intuitive,  synthetic  power  is  highly 
developed,  the  "natural-born"  lip-reader  is 
the  result. 

I  feel  sure,  from  what  is  known  of  the  men, 
that  Prescott,  the  historian,  would  have  easily 
learned  lip-reading,  while  the  analytical  Ban- 
croft would  have  found  it  much  more  difficult; 
that  Seton  Thompson  would  be  quick  to  mas- 
ter it,  and  that  John  Burroughs  would  be 
slower;  that  Roosevelt  would  be  an  expert, 
and  that  Hughes  would  be  a  novice.  I  have 
repeatedly  found  among  mj'-  pupils  that  those 
who  can  play  music  readily  at  sight  are  apt 
in  reading  the  lips,  for  such  ability  implies 
quick  reaction  time  and  the  intuitive  mind. 

What  degree  of  skill  can  a  lip-reader  expect 
to  attain?  How  long  does  it  take.^  These 
are  natural  questions,  but  cannot  be  answered 


THE  EYE  AS  SUBSTITUTE  11 

categorically.  What  some  can  attain  in  three 
months,  others  cannot  acquire  short  of  a  year; 
and  the  highest  degree  of  skill,  as  in  any  art, 
is  open  only  to  the  few.  But  three  lessons  a 
week  for  three  months  will,  with  most  pupils, 
give  a  very  satisfactory  and  practical  skill. 
I  may  be  pardoned  if  I  speak  of  myself.  I 
can  sometimes  understand  a  lecture  or  ser- 
mon, depending  upon  conditions  of  light, 
etc. ;  less  often  can  I  understand  a  play.  I  am 
called  a  good  lip-reader,  but  I  know  better 
ones.  With  a  very  few  exceptions,  such  a 
degree  of  skill  is  possible  to  every  one  as  to 
make  home  life  and  social  friendships  a  joy 
once  more,  and,  though  it  may  not  be  an 
infallible  resource  in  business,  it  may  for  all 
be  an  invaluable  aid.  Lip-reading  can  never 
do  all  that  good  ears  ought  to  do,  but  what  it 
can  do  is  almost  a  miracle. 

Two  objections  to  lip-reading  I  occasionally 
hear:  (1)  That  it  is  too  great  a  strain  on  the 
eyes,  and  (2)  that,  by  relieving  the  ears  from 
hearing,  there  is  a  tendency  to  deterioration 
in  hearing  from  lack  of  exercise. 

The  strain  upon  the  eyes  at  first  is  truly 
no  small  one;  but  I  have  repeatedly  found 
that  those  who  complain  of  eye-strain  during 


12  LIP-READING 

their  first  lessons,  later  never  think  any  more 
about  it.  I  have  not  strong  ej^es,  and  now, 
though  I  use  them  in  reading  the  lips  every 
day  and  all  day  long,  they  are  seldom  over- 
tired. If  the  lip-reader  is  careful  from  the 
first  to  cease  using  the  eyes  at  the  first  symp- 
tom of  tire,  I  believe  that  no  harm  can  result 
and  gradually  the  eyes  will  be  able  to  do  more 
and  more. 

The  objection  in  regard  to  the  deterioration 
of  hearing  I  believe  to  be  the  reverse  of  true. 
Dr.  Albert  Barnes,  in  "The  Dietetic  and  Hy- 
gienic Gazette,"  of  October,  1909,  said:  "Peo- 
ple with  ear-strain  should  spare  the  hearing 
as  much  as  possible,  and,  instead  of  straining 
the  ear  to  catch  what  is  said,  they  should 
watch  the  lips  more.  In  other  words,  the 
eyes  should  be  called  upon  to  help  the  ears." 
Moreover,  with  pupils  who  have  enough  hear- 
ing to  hear  the  sound  of  the  voice,  I  advise 
and  encourage  them  to  use  ears  and  eyes  in 
fullest  cooperation,  one  helping  the  other. 

Under  such  circumstances,  and  also  in  view 
of  the  fact  that  the  ear  involuntarilv  gets  exer- 
cise  with  every  sound  that  comes  to  it,  whether 
the  strain  to  hear  is  made  or  not,  I  do  not  see 
how  any  harm  can  be   done  to  the  cars  by 


THE  EYE  AS  SUBSTITUTE  13 

lip-reading,  and  in  all  my  experience  I  have 
never  found  any  evidence  of  such  harm.  On 
the  contrary,  several  times  pupils  have  re- 
ported to  me  an  actual  betterment  of  the  hear- 
ing, though  how  much  lip-reading  had  to  do 
with  it  and  how  much  other  conditions  I  do 
not  pretend  to  say. 

Lip-reading,  then,  is  not  a  cure  for  deafness, 
nor  is  it  even  a  cure  for  all  the  ills  of  deafness; 
but  from  some  of  the  worst  ills  it  is  a  true 
alleviation.  It  takes  first  place  on  the  majority 
of  occasions  over  all  mechanical  devices.  For 
those  completely  deaf,  or  so  deaf  as  to  make 
mechanical  devices  out  of  the  question,  lip- 
reading  is  the  only  resource.  For  those  whose 
deafness  still  allows  them  to  hear  the  sound 
of  the  voice,  it  obviates  the  necessity  of  using 
these  more  or  less  cumbersome  and  inconven- 
ient contrivances.  Even  at  such  times  when 
these  devices  can  be  used  to  advantage,  watch- 
ing the  lips  helps  to  make  them  more  useful 
and  more  reliable.  Under  any  circumstances, 
lip-reading  has  in  it  the  power  to  make  deaf- 
ness of  whatever  degree  much  easier  to  bear. 


CHAPTER  II 

TEACHING   AIMS 

The  preceding  chapter,  The  Eye  as  a  Siibsti- 
tute  for  Deaf  Ears,  tells  the  underlying  basis 
for  success  in  lip-reading.  The  teacher  should 
know  how  to  develop  the  requisite  qualities 
in  each  pupil  to  the  utmost.  Every  one  has 
three  sides,  the  physical,  the  mental,  the  spirit- 
ual. It  is  a  truism  that  perfect  development 
exists  only  when  the  development  of  each  side 
is  symmetrical.  It  is  so  in  lip-reading.  The 
eyes  (physical),  the  mind,  and  even  the  soul 
qualities,  nmst  all  have  proper  attention  to 
attain  the  highest  success  possible  in  each 
individual  case. 

The  eyes  must  be  trained  (1)  to  be  accurate. 
(2)  to  be  quick,  (3)  to  retain  visual  impres- 
sions, and  (4)  to  do  their  work  subconsciously. 

The  first  of  these  requisites  is  so  obvious 
that  there  is  perhaps  a  tendency  to  over- 
emphasize it  in  the  neglect  of  the  others.  Of 
course  the  eves  cannot  be  too  accurate;  the 

14 


TEACHING  AIMS  15 

danger  is  in  training  for  accuracy  alone  re- 
gardless of  other  needs.  To  secure  accuracy 
in  lip-reading,  the  pupil  must  know  exactly 
what  to  look  for.  The  careful  description  of 
each  movement  tells  him  this;  and  the  teacher 
should  also  show  it  to  him  on  the  mouth.  The 
movement  loords  (see  Part  II,  Section  III, 
under  the  description  of  each  movement), 
in  which  each  new  movement  is  developed 
in  contrast  and  in  connection  with  previously 
studied  movements,  provide  the  best  possible 
material  for  training  in  accuracy.  The  con- 
trast ivords  also,  by  showing  the  differences 
between  similar  movements,  direct  the  eyes 
to  an  accurate  study  of  the  decisive  charac- 
teristics. And  the  "practise  icords,  giving  each 
new  movement  in  combination  with  all  the 
fundamental  movements,  both  before  and 
after,  show  how  the  movements  are  mutu- 
ally modified  by  association.  Directions  for 
using  this  material  are  given  in  their  proper 
place. 

Accuracy  alone  is  not  sufficient.  The  quick- 
ness of  natural  speech  makes  it  imperative 
that  the  eyes  be  trained  to  be  quick.  For  this 
reason,  from  the  very  first,  all  forms  of  exercise 
of  whatever  kind  should  be  practised  alwavs 


16  LIP-READING 

as  rapidly  as  the  ability  of  the  pupil  will  allow. 
Particularly  all  review  work  should  be  rapid. 
It  Vvill  be  easier  for  the  pupil  to  have  the 
teacher  enunciate  slowly,  but  the  rapid  enun- 
ciation, up  to  the  limit  of  the  pupil's  ability, 
will  do  him  considerably  more  good. 

The  importance  of  training  the  visual  mem- 
ory is  clear  from  the  fact  that  often  the  lip- 
reader  v.ill  get  the  first  part  of  a  sentence 
from  the  last;  that  is,  the  understanding  of  a 
few  words  toward  the  end  of  a  sentence,  aided 
by  the  memory  of  preceding  facial  move- 
ments, will  enable  the  lip-reader  to  construct 
the  whole.  Sentence  practise  is  always  good 
for  developing  this  power;  but  at  no  time 
should  the  pupil  be  allowed  to  interrupt  the 
teacher  until  either  a  whole  sentence,  or  at 
least  a  clause,  has  been  completed.  Other 
practise  for  developing  the  power  of  visual 
memory  will  be  found  directed  under  the 
vowel  and  consonant  exercises  (see  p.  253) 
where  the  pupil  is  required  to  carry  three, 
four,  or  even  five  unrelated  words  in  mind 
and  to  repeat  them  in  order. 

All  this  work  for  the  eyes  is  in  its  essence 
analytic.  The  conscious  work  of  the  uiind 
ill    lip-reading,   however,   must  be  synthetic. 


TEACHING  AIMS  17 

Hence  the  eyes  must  be  trained  to  do  their 
work  subconsciously.  To  do  so,  the  eyes  must 
work  by  habit,  and  to  form  these  habits  much 
repetition  in  practise  is  necessary.  To  give 
an  exercise  once  may  train  for  accuracy,  but 
not  for  subconscious  accuracy.  It  is  absohitely 
essential,  therefore,  that  the  pupil  aiul  the 
teacher  should  go  over  and  over  and  over 
things  until  they  are  truly  mastered. 

The  essentials  in  training  the  mind  are  to 
develop  (1)  synthetic  ability,  (2)  intuition, 
(3)  quickness,  and  (4)  alertness. 

The  necessity  of  synthetic  ability  has  been 
sufficiently  explained  in  Chapter  I.  The  work 
directed  in  Chapter  V,  IIow  to  Use  Stories, 
is  all  intended  to  develop  synthesis,  and  the 
question  practise  as  there  directed  is  especially 
helpful.  Everj^  kind  of  sentence  practise  is 
an  aid,  including  the  work  directed  under  that 
heading.  Chapter  X,  and  the  Colloquial  Forms 
(p.  282)  and  the  Ilomophenous  Words  (p.  301.) 

Closely  allied  with  the  synthetic  quality 
is  intuition.  The  lip-reader  who  has  the  power 
of  intuitively  jumping  to  the  right  conclusions 
has  a  potent  aid  to  synthesis.  Good  develop- 
ment practise  for  the  intuitive  powers,  leading 
the   mind   to   look  for  natural   sequences   of 


18  LIP-READING 

thought,  is  to  be  found  in  the  use  of  stories  by 
teUing  them  in  different  words  (see  Chapter  V) , 
in  the  use  of  words  as  a  basis  for  sentences 
built  around  the  thought  suggested  by  them 
(see  Chapter  IX),  in  the  use  of  sentences  to 
develop  other  sentences  associated  with  them 
in  idea  (see  Chapter  X),  and  in  conversation 
and  in  more  formal  talks  along  some  chosen 
theme  (see  Chapter  IV). 

It  is  just  as  important  for  the  mind  to  be 
quick  as  for  the  eyes.  It  sometimes  happens 
that  the  eye  will  see  quickly  but  the  mind 
will  interpret  slowly.  To  develop  quickness 
of  mind  the  teacher  should  insist  upon  a 
quick  response  in  all  work  where  the  pupil  is 
required  to  repeat  what  has  been  said. 

By  alertness  I  do  not  mean  the  same  as 
quickness,  but  rather  an  openness  of  the  mind 
to  impressions  and  a  readiness  for  new  turns 
of  thought.  It  is  not  uncommon  to  find  a 
pupil  who  clings  to  false  impressions,  loth  to 
cast  them  aside,  even  when  told  they  are 
wrong.  Such  a  pupil  should  have  his  atten- 
tion directed  to  his  failing  and  be  cautioned 
to  guard  against  it  at  all  times.  The  skipping 
practise  directed  for  the  stories  (Chapter  V) 
and  the  skipping  practice  directed  for  words 


TEACHING  AIMS  19 

(Chapter    IX)    and    sentences    (Chapter    X) 
will  ail  heljD  to  develop  mental  alertness. 

In  my  wide  experience  with  the  deaf  and 
hard-of-hearing  it  has  seemed  that  the  thing 
most  needed  by  them  is  access  to  the  spiritual 
springs  of  human  life.  No  other  class  of  people 
is  so  shut  oft'  from  these  springs,  for  they  are 
to  be  found  above  all  else  in  the  nmtual  inter- 
course of  soul  with  soul.  By  the  fact  of 
their  deafness,  such  human  companionship 
is  denied  in  very  large  measure.  The  deaf 
are  thrown  upon  themselves  and  their  own 
thoughts  and  resources.  As  they  have  ex- 
pressed it  to  me  again  and  again,  they  are 
"hungry"  for  a  real  conversation;  they  are 
*' lonely,"  though  surrounded  by  family  and 
friends.  It  is  not  surprising  that  morbidness, 
hopelessness  and  the  "blues,"  and  lack  of 
courage  and  self-confidence  mark  their  in- 
creasing deafness  and  consequent  increasing 
isolation. 

The  difficulties  of  the  teacher  with  a  pupil 
like  that  are  truly  of  a  spiritual  nature.  It 
is  a  hopeless  task  to  try  to  make  a  successful 
lip-reader  of  one  whose  "Oh!  I  can't"  attitude 
stands  in  the  way  of  every  achievement,  unless 
that  spirit  of  despair  be  supplanted  by  the 


20  LIP-READING 

spirit  of  "I  can'*  and  "I  will."  It  is  true 
that  increasing  skill  in  lip-reading  tends  to 
dispel  these  morbid  conditions  of  mind,  but 
it  is  also  true  that  these  morbid  conditions 
stand  squarely  in  the  way  of  such  increasing 
skill.  The  mere  study  of  lip-reading  'per  se 
cannot  be  relied  upon  to  banish  the  "blues" 
and  lack  of  self-confidence  and  courage.  So  it 
becomes  of  utmost  importance  for  the  teacher 
to  work  directly  upon  these  spiritual  condi- 
tions. Not  obviously  of  course,  still  less  by 
nagging;  nor  yet  by  pity,  nor  even  by  sj^m- 
pathy  of  the  wrong  kind,  (though  sympathy 
of  the  right  kind  is  a  powerful  agent). 

I  can  lay  down  rules  for  the  training  of  the 
eye  in  lip-reading  and  rules,  though  more 
elastic  ones,  for  training  the  mind.  But  rules 
for  developing  these  desired  spiritual  qualities 
cannot  so  well  be  formulated.  I  think,  how- 
ever, I  can  make  some  suggestions  which  will 
help  guide  the  teacher  along  the  road. 

Of  course  no  two  pupils  are  alike  in  their 
spiritual  cjualities  or  spiritual  needs.  They 
are  not  all  as  "blue"  as  he  whose  needs  I 
have  been  picturing.  But  T  suppose  there 
is  no  one  who  cannot  stand  a  helping  hand 
along  the  road  to  cheer  and  courage. 


TEACHING  AIMS  21 

It  is  axiomatic  that  to  impart  spiritual 
qualities  you  must  have  them.  That  is  why 
I  regard  " personality'"  as  the  most  valued 
asset  of  the  teacher.  A  strong  personality 
and  the  power  to  make  that  personality  felt 
as  an  influence  toward  the  best  things  are 
fundamental  qualities  of  the  great  teacher  in 
any  subject,  and  they  apply  with  special 
force  to  the  teacher  of  lip-reading. 

Sympathy  of  the  right  kind  is  strongly 
needed:  not  the  kind  that  turns  the  pupil's 
thoughts  more  than  ever  on  his  affliction,  for 
that  strengthens  his  habit  of  self-pity;  but  the 
kind  that,  while  acknowledging  the  affliction, 
gives  the  pupil  a  metaphorical  slap  on  the 
back,  stirs  him  to  stand  by  his  own  efforts  and 
work  out  his  own  salvation.  Many  pupils 
rely  on  the  teacher  to  do  all  the  work,  make  all 
the  effort.  To  say  nothing  of  their  lack  of 
effort,  their  very  attitude  is  an  insuperable 
bar  to  achievement.  Win  over  such  a  pupil 
to  work  with  you  and  half  the  battle  is  won. 

Meet  every  mood  of  discouragement  with 
cheer  and  hope.  Don't  be  sparing  of  praise 
for  good  work  well  done.  Don't  be  impatient 
with  failure,  especially  if  the  effort  be  true. 
Hold  up  the  bright  side  of  the  picture  always. 


22  LIP-READING 

Encourage  by  example  of  what  others  have 
achieved.  These  are  some  of  the  essentials 
in  the  teacher's  spiritual  attitude  toward  the 
pupil. 

Be  the  friend  of  your  pupil,  not  merely  his 
teacher.  Take  an  interest  in  the  things  that 
interest  him,  and  gain  his  interest,  too,  in 
the  things  that  lie  close  to  j^our  own  heart. 
Friendship  opens  many  a  door  to  helpfulness 
that  otherwise  would  remain  closed.  Be  his 
friend,  but  don't  forget  that  j^ou  are  his 
teacher  too.  Don't  let  friendship  make  you 
"easy  with  the  pupil,"  nor  cause  you  to  let 
down  the  bars  to  indolence  and  weaken  the 
spur  to  faithful  effort.  Expect,  and  let  your 
whole  attitude  demand,  the  pupil's  best. 

The  teacher  who  works  in  this  spirit  with 
his  pupils  will  have  the  joy  not  onl}^  of  seeing 
them  advance  more  quickly  in  the  art  of  lip- 
reading,  but  also  and  especially  of  seeing  them 
live  happier,  cheerier,  braver,  and  more  useful 
lives. 


CHAPTER  III 

TO    THE    FRIENDS    OF    THE    DEAF 

It  is  not  easy  to  be  deaf;  it  is  a  mighty  hard 
thing;  and  it  is  often  made  harder  for  us  by 
the  unnecessary  friction  between  us  and  our 
friends  arising  from  the  fact  of  our  deafness. 
That  is  why  I  ask  you,  the  friends  of  the  deaf, 
to  consider  some  of  the  ways  and  means  by 
which  you  can  help  to  make  our  lot  easier 
for  us.  I  do  not  mean  to  scold  or  find  fault, 
but  to  help — to  help  you  to  help  us.  If  at 
times  I  speak  plainly,  even  bluntly,  I  trust 
you  will  pardon  it  in  view  of  my  purpose. 

If  it  is  a  question  of  blame,  we  ourselves 
must  assume  our  share  of  it.  It  is  often  our 
attitude  that  makes  things  hard  for  both 
you  and  us.  For  one  thing,  we  are  prone  to 
be  too  sensitive.  And  yet  that  is  the  most 
natural  thing  in  the  world.  I  suppose  every 
man  or  woman  who  carries  a  physical  affliction 
is  more  or  less  sensitive.  The  lame  man,  the 
blind    man,    the   humpback,   the   stammerer, 

23 


24  LIP-READING 

all  have  a  fellow  feeling  in  this  regard.  But 
the  peculiarity  of  deafness  is  that  it  has  the 
unhappy  faculty  of  drawing  down  ridicule 
upon  its  victim. 

If  a  lame  man  stumbles  and  falls,  nobody 
laughs;  everybodj^  rushes  to  help  him  to  his 
feet.  If  a  blind  man  runs  into  a  stone  wall, 
every  one  is  all  sympathy.  But  let  a  deaf  man 
make  a  mistake,  due  to  his  deafness,  and 
everybody  laughs.  Yes,  I  know  they  do  not 
laugh  at  him;  they  laugh  at  his  mistake.  If 
it  were  only  easy  for  him  to  realize  that,  it 
w^ould  save  him  intense  mortification.  I 
suppose  there  is  not  one  of  us  who  has  not 
felt  at  some  time  or  other  that  he  wished  the 
floor  would  open  and  swallow  him  up. 

When  I  was  at  college,  one  of  the  members 
of  the  glee  club  was  very  bald;  but  he  wore  a 
wig.    At  the  concerts  he  sang  a  solo: 

"  I'd  rather  have  fingers  than  toes, 
I'd  rather  have  eyes  than  a  nose; 
And  as  for  my  hair, 
I'm  so  glad  it's  all  there, 
I'll  be  sore  as  can  })c  when  it  goes." 

And  with  the  last  word  he  would  snatch 
the  wig  from  his  head.     Of  course  everybody 


FRIENDS  OF  THE  DEAF  25 

laughed;  but  the  point  is,  that  he  laughed 
ivith  them.  If  we  who  are  deaf  would  cultivate 
the  saving  grace  of  hiughing  at  our  mistakes, 
it  would  take  all  the  sting  out  of  them. 

On  the  other  hand,  there  is  the  danger  that 
those  who  laugh  at  us  may  get  the  worst  of  it 
themselves.  John  Wanamaker  tells  the  story 
of  a  deaf  man  named  Brown,  who  was  dis- 
posed to  stinginess. 

"He  never  married,  but  he  was  very  fond 
of  society,  so  one  day  he  felt  compelled  to 
give  a  banquet  to  the  many  ladies  and  gentle- 
men whose  guest  he  had  been. 

"They  were  amazed  that  his  purse-strings 
had  been  unloosed  so  far,  and  they  thought 
he  deserved  encouragement;  so  it  was  arranged 
that  he  should  be  toasted.  One  of  the  most 
daring  young  men  of  the  company  was  selected, 
for  it  took  a  lot  of  nerve  to  frame  and  propose 
a  toast  to  so  unpopular  a  man  as  Miser  Brown. 
But  the  young  man  rose.  And  this  is  v.hat 
was  heard  by  every  one  except  Brown,  who 
never  heard  anything  that  was  not  roared 
into  his  ear: 

"'Here's  to  you.  Miser  Brown.  You  are 
no  better  than  a  tramp,  and  it  is  suspected 
that  you  got  most  of  your  money  dishonestly. 


26  LIP-READING 

We  trust  that  you  may  get  your  just  deserts 
yet,  and  land  in  the  penitentiary.' 

"Visible  evidences  of  applause  made  Brown 
smile  with  gratification.  He  got  upon  his 
feet,  raised  his  glass  to  his  lips,  and  said, 
'The  same  to  you,  sir.'" 

Inattention  is  one  of  our  chief  faults.  Not 
hearing  what  is  going  on  around  us,  we  are 
apt  to  withdraw  into  our  own  thoughts;  and 
then,  when  some  one  does  speak  to  us,  we 
are  far  away.  We  need  to  be  more  on  the 
alert  than  others,  just  because  we  cannot 
hear;  our  quickness  of  eye  must  make  up  for 
our  aural  slowness.  To  you,  our  friends,  I 
wish  to  make  the  suggestion  that  you  draw 
our  attention,  not  by  touching  us,  not  by  a 
violent  waving  of  the  arm  or  perhaps  the 
handkerchief,  not  by  shouting  to  us,  but  by 
a  quiet  movement  of  the  hand  within  our 
range  of  vision.  We  arc  sensitive.  Any- 
thing that  brings  our  aflSiction  into  the  lime- 
light of  the  observation  of  others  cuts  like  a 
lash;  and  there  are  few  things  we  dislike  more 
than  having  our  attention  attracted  by  a 
poke  or  a  i)ull,  though  a  gentle  touch  is  some- 
times not  disagrecjible. 

Another  of  our  faults  is  a  tendency  to  ae- 


FRIENDS  OF  THE  DEAF  27 

clusiveness.  We  not  only  draw  into  our  own 
thoughts  when  others  are  present;  we  often 
retire  from  company  into  the  soHtude  of  a 
book  or  magazine,  or  avoid  company  alto- 
gether. It  is  a  rudeness,  I  know,  to  pick  up  a 
book  and  read  when  in  the  company  of  others; 
yet  it  is  a  rudeness  that  even  our  friends  ought 
sympatheticall}'^  to  condone.  And,  moreover, 
I  ask  you  which  is  the  greater  rudeness,  that 
of  our  taking  up  our  book  or  that  of  your 
passing  around  the  sweets  of  conversation  and 
offering  none  to  us.^  Truly,  we  ought  not  to 
seclude  ourselves,  but  we  need  your  help. 

We  have  our  faults,  and  so  have  you,  and 
your  chief  fault,  as  far  as  we  are  concerned, 
is  that  you  do  not  realize  what  it  means  to  be 
deaf.  Occasionally  I  hear  some  one  say  he 
wishes  he  might  be  deaf  for  a  little  while; 
he  would  be  glad  if  some  of  the  disturbing 
noises  might  be  eliminated.  Oh,  deafness  is 
not  so  bad,  he  opines;  it  has  its  advantages — 
which  I  do  not  deny;  but  they  are  not  the 
advantages  he  has  in  mind.  I  sometimes  wish 
that  such  a  person  might  truly  be  deaf  for 
say  a  year  without  the  knowledge  that  at  the 
end  of  that  time  his  hearing  would  be  restored 
to  him.     Then  he  would  find  the  one-time 


28  LIP-READING 

disturbing  noises  had  become  music  in  his 
ears,  and  that  the  advantages  of  deafness, 
provided  he  had  met  his  affliction  in  the  right 
spirit,  were  of  a  spiritual  and  not  of  a  physical 
nature. 

It  is  thoughtlessness,  due  to  ignorance  of 
conditions,  that  is  the  cause  of  most  of  the 
troubles  between  you  and  us.  It  is  not  sel- 
fishness— not  usually,  at  any  rate — but  just 
that  you  do  not  stop  to  think.  And  that 
is  why  I  am  wanting  to  you:  to  help  you  to 
understand  and  show  the  same  thoughtfulness 
toward  us  as  you  instinctively  would  show 
toward  the  blind. 

There  is  one  book  that  everv  friend  of  the 
deaf  ought  to  read,  "Deafness  and  Cheerful- 
ness," by  the  Rev.  A.  W.  Jackson.  Intended 
for  the  deaf  themselves,  it  has  a  still  greater 
value,  I  believe,  for  their  friends.  The  little 
brochure,  "The  Deaf  in  Art  and  the  Art  of 
Being  Deaf,"  by  Grace  Ellery  Channing,  is 
also  good.  Such  reading  will  help  you  to  put 
yourselves  in  our  place. 

It  is  easy  enough  for  us  to  imagine  what 
lameness  and  what  blindness  mean;  probably 
most  of  us  have  been  more  or  less  lame  at 
some  time  or  other,  and  we  are  all  of  us  blind 


FRIENDS  OF  THE  DEAF  29 

when  ill  the  dark.  But  it  is  a  much  more 
difficult  thing  for  the  hearing  to  imagine  the 
full  calamity  of  deafness.  Think  how  much 
of  the  sweetness  of  life  comes  to  you  through 
your  cars.  The  joys  of  companionship  and 
fellowship  with  otlicr  men  and  women  are 
dependent  on  our  understanding  what  they 
have  to  say.  Try  for  one  week  to  imagine 
what  it  would  be  like  if  every  spoken  word 
that  comes  to  you  were  lost.  Think  each 
time,  "Suppose  I  had  not  heard  that,"  and 
when  you  have  finally  comprehended  what  the 
world  of  silence  is,  your  sympathetic  under- 
standing will  go  a  long  way  toward  lightening 
our  cross. 

If  you  could  really  put  yourselves  in  our 
place,  one  of  the  first  things  you  would  realize 
is  that  there  are  few  things  that  so  irritate  as 
to  have  you  shout  at  us.  It  is  so  unnecessary 
and  uncalled  for,  and  makes  us  the  center  of 
unenvied  observation.  We  will  in  fact  under- 
stand you  better  if  instead  of  shouting  you 
enunciate  clearly  and  distinctly  and  make 
your  voice  as  vibrant  as  may  be  possible. 

In  a  general  conversation  we  greatly  need 
your  help.  A  certain  deaf  man  expressed 
the  unuttered   view  of  many  another  W'heu 


30  LIP-READING 

he  said,  "  I  enjoy  a  conversation  with  one 
person,  but  when  a  third  breaks  in  upon  us, 

h enters  the  room  w^ith  him."     In  nine 

cases  out  of  ten  the  deaf  man  is  given  no  share 
in  general  conversation,  and  for  all  purposes 
of  social  enjoj^ment  he  might  almost  as  well 
be  marooned  on  a  desert  island. 

General  conversation  is  hard  for  us  to  under- 
stand, even  though  we  be  skillful  readers  of 
the  lips.  As  we  all  know,  it  is  very  much 
easier  to  follow  conversation  when  we  know 
the  subject.  When  two  people  are  talking 
w^e  may  say  that  each  has  a  one-half  share; 
when  three,  each  has  a  one-third  share,  and 
so  on.  This  is  true  provided  all  can  hear. 
But  if  one  is  deaf,  while  it  is  still  true  he  has 
a  half-share  when  only  two  are  talking,  when 
three  are  talking  he  has  no  share  at  all!  If 
onlv  the  others  would  talk  to  him!  But  no, 
they  talk  to  each  other,  and  he  is  out  of  it. 
My  advice  to  you,  then,  in  a  general  conversa- 
tion, is:  "Talk  to  us."  The  others  will  hear 
you,  and  it  will  give  us  the  benefit  of  sharing 
in  the  conversation,  of  knowing  the  subject, 
and  of  greatly  increased  case  of  understand- 


ing. 


There  are  times,   I  know,   when   il  is   not 


FRIENDS  OF  THE  DEAF  31 

possible  to  talk  to  us,  or  others  may  be  talking 
who  have  not  the  thoughtfuhiess  to  do  so. 
Then  what  we  ask  of  you  is  not  to  rehash  the 
conversation  after  the  topic  has  been  talked 
out,  but  by  a  word  or  two  at  the  beginning  to 
indicate  to  us  the  subject. 

The  suggestions  I  have  given  you  so  far 
will  apply  whether  we  are  lip-readers  or  not. 
Now  I  wish  to  give  you  some  suggestions 
that  will  help  us  in  our  endeavor  to  hear  with 
the  eyes.  For  one  thing,  let  the  light  be  on 
your  face,  not  on  ours.  It  requires  only  a 
little  thoughtfulness  to  see  to  this  important 
requisite.  In  my  own  family  such  thoughtful- 
ness has  become  so  instinctive  as  to  be  a 
habit,  and  the  endeavor  to  get  the  light  right 
is  always  a  first  thought  when  any  of  the 
family  are  talking  to  me. 

The  exaggeration  of  the  facial  movements, 
*' mouthing,"  usually  arises  on  your  part  from 
the  best  intentions  to  help  us  understand. 
You  mean  well,  but  as  a  matter  of  fact  you 
are  making  it  harder  for  us.  Such  exaggera- 
tion throws  the  mouth  out  of  all  natural 
movement  and  formation,  and  makes  it  im- 
possible for  us  to  know  just  what  we  do  see. 
All  we  ask  of  you  is  that  you  speak  distinctly, 


m  LIP-READING 

and  then  the  movements  of  your  lips  and 
tongue  will  take  care  of  themselves. 

Closely  associated  with  your  endeavor  to 
help  us  by  exaggeration  is  the  endeavor  to 
help  through  a  word-bj'-vrord  manner  of  talk- 
ing. The  human  mind  naturallv  takes  in  the 
thought  as  a  whole  and  not  piecemeal,  one 
word  at  a  time.  It  is  exasperation  to  ask  us 
to  understand  in  that  wa}^  How  much  of  the 
thought  of  this  printed  page  would  j^ou  get  if 
you  stopped  to  think  about  each  word  sepa- 
rately.'^ Like  the  man  who  could  not  see  the 
woods  for  the  trees,  so  when — you — talk — 
this — way  we  cannot  see  the  thought  for  the 
words.  If  it  is  necessary  to  speak  slowty  to 
us,  let  it  be  smoothly,  connectedly,  and  not 
word  by  word. 

Another  of  your  well-meant  efforts  to  help 
us  consists  in  repeating  for  us  a  single  word 
that  we  have  failed  to  understand;  it  is  much 
easier  for  us  to  get  the  word  in  its  thought 
connection  in  a  sentence.  For  the  same  rea- 
son, the  long  phrase  is  usually  easier  than 
the  short  phrase;  as,  for  example,  "AYill  you 
get  me  a  drink  of  water?"  presents  much 
less  difficulty  than  "Will  you  get  me  a 
drink?" 


FRIENDS  OF  THE  DEAF  33 

In  your  choice  of  words,  try  to  choose  if 
possible  those  that  have  the  most  movement 
of  the  Hps.  If  you  want  to  say  "a  quarter," 
choose  the  words  "twenty -five  cents."  For 
"fifty  cents,"  however,  you  should  say  "half 
a  dollar,"  for  not  only  does  the  latter  phrase 
have  more  lip-movement,  but  it  is  also  true 
that  "  fifty  cents  "  might  easily  be  mistaken  for 
"fifteen  cents."  As  another  example,  notice 
as  you  say  the  sentences  how  much  plainer 
and  more  pronounced  the  lip-movements  are 
for  "What  beautiful  weather  we  are  having" 
than  for  "  Isn't  it  a  nice  day  ?  " 

Proper  names  are  always  hard,  because  we 
have  as  a  rule  no  context  to  help  us.  When 
you  introduce  us  to  strangers,  be  careful  to 
speak  the  name  clearly  and  distinctly  direct 
to  us.  Not  infrequently  I  find  my  hearing 
friends  introducing  me  with  a  decided  empha- 
sis on  my  own  name,  as  though  it  were  very 
necessary  that  I  should  understand  that, 
and  with  the  name  of  my  new  acquaintance 
so  mumbled  that  I  do  not  know  whether  he  is 
Teufelsdrockh  or  Smith.  Again,  when  in 
conversation  you  are  referring  to  some  one 
by  name,  a  short  explanatory  phrase  will 
often  help  us  wonderfully;  as,  "I  like  to  deal 


34  LIP-READING 

at  Scudder  and  Singer's — the  Tneat  market,  you 
hioiv.'" 

I  have  presented  to  you  some  of  our  prob- 
lems, believing  that  you  can  help  us.  Yet  I 
realize  that  you  cannot  do  it  all — that  we 
must  cooperate.  And  the  first  thing  for  us 
to  do  in  the  way  of  self-help  is  frankly  to 
acknowledge  our  deafness.  I  think  no  greater 
mistake  can  be  made  from  the  standpoint 
of  our  own  comfort  and  peace  of  mind  than 
that  of  trying  to  conceal  the  fact  that  we 
cannot  hear.  It  is  not  only  sensitiveness,  it 
is  also  a  feeling  of  shame,  as  though  we  had 
done  some  wrong,  that  impels  us  to  try  to 
hide  our  failing  ears.  We  need  the  advice 
of  the  hmatic  in  the  story.  All  day  long  a 
fisherman  had  been  sitting  on  the  bank  of  the 
stream  and  had  not  caught  a  thing.  All  day 
long  the  lunatic  had  watched  him  from  a 
window  in  the  neighboring  insane  asylum. 
At  last  the  man  in  the  window  could  endure 
it  no  longer,  and  he  shouted  to  the  fisherman: 
*'IIey,  there,  you  poor  fool!  Come  on  in- 
sider 

So  we  need  to  come  on  inside  the  ranks  to 
which  we  belong,  frankly,  realizing  that  it  is 
no  crime  to  be  deaf,  and  then  try  by  every 


FRIENDS  OF  THE  DEAF  35 

means  in  our  power  to  make  our  lives  normal 
and  sane.  That  is  what  we  are  striving  to  do, 
and  we  ask  j^our  help  that  our  burden  of 
deafness  may  be  Hghtened  as  much  as  possi- 
ble. 


CHAPTER  IV 

CONVERSATION    PRACTISE 

The  end  and  aim  of  all  lip-reading  practise 
is  facility  in  understanding  conversation.  But 
to  this  end  conversation  practise  alone  is  not 
enough.  It  is  common  to  hear  a  pupil  say: 
"I  have  practise  in  talking  with  people  all  the 
time;  I  don't  need  any  other  practise."  If  you 
were  studying  music  on  the  piano,  w^ould  it  be 
sufficient  only  to  play  pieces,  and  never  scales, 
chords,  and  exercises?  If  you  were  studying 
French,  would  it  be  sufficient  only  to  converse, 
and  to  know  nothing  of  forms,  idiom,  and 
grammar? 

Skill  in  reading  the  lips  certainly  can  be 
gained  by  conversation  practise  alone,  but 
neither  so  speedily  nor  so  thoroughly  as  when 
such  conversation  practise  is  supplemented  by 
the  practise  of  exercises  of  the  various  kinds 
that  have  been  exi)laincd  in  my  previous 
papers.  Conversely  it  is  true  that  the  prac- 
tise of  those  exercises  alone  will  not  sufficiently 

S6 


CONVERSATION  PRACTISi:.  3^ 

avail  unless  they  are  put  to  practical  applica- 
tion in  what  is  the  end  of  them  all,  conver- 
sation. 

In  conversation,  however,  the  conscious 
effort  of  the  lip-reader  should  be  not  to  think 
of  or  to  try  to  see  the  forms,  movements, 
syllables,  etc.,  but  simply  to  grasp  the  thought 
of  the  speaker.  The  perception  of  the  move- 
ments must  be  left  to  take  care  of  itself;  you 
should  know  them,  but  not  think  of  them; 
your  recognition  of  them  should  be  subcon- 
scious. When  you  read  the  printed  page,  you 
do  not  think  of  the  individual  letters,  yet, 
without  being  conscious  of  it,  you  see  them. 
When  you  play  the  piano,  the  printed  notes 
are  your  guide,  but  (if  you  are  truly  skillful) 
those  notes  are  transformed  into  music  through 
your  fingers  without  your  stopping  to  think 
what  the  notes  are.  The  successful  student  of 
a  foreign  language  uses  the  language  like  a 
native  without  a  thought  of  form,  case,  tense, 
construction  and  the  other  demands  of  gram- 
mar. In  each  instance  the  technical  knowledge 
is  there,  and  is  used,  but  it  has  been  relegated 
to  the  lower  centers  of  the  brain  that  do  things 
by  habit  without  requiring  attention  or  di- 
rection. 

■i  O  P  '"^  '  •»    i 

1  c  b  '■  '■>  '4 


38  LIP-READING 

It  should  be  the  same  in  lip-reading,  for 
the  mind  has  not  the  time  nor  the  power  to 
think  of  the  elements  and  to  construct  the 
idea  therefrom,  to  conduct  consciously  a 
process  of  analysis  and  synthesis,  at  the  same 
time.  In  all  conversation  practise  therefore 
let  the  elements  take  care  of  themselves  and 
focus  your  effort  on  the  endeavor  to  grasp 
the  thought. 

There  are  more  ways  than  one  of  securing 
conversation  practise.  The  beginning  should 
be  in  forming  the  habit  of  always  watching 
the  mouth,  not  the  eyes,  of  a  speaker.  For 
some  the  formation  of  this  habit  is  difficult, 
but  it  must  be  formed  if  success  is  to  be  at- 
tained— it  is  one  of  the  essentials.  Even 
though  you  hear  the  sound  of  the  voice,  even 
though  you  actually  hear  every  word,  watch 
the  mouth  too.  The  eyes  are  expressive,  and 
with  many  people  so  is  the  whole  face.  But  no 
part  of  the  face  reveals  so  much  as  the  mov- 
ing lips  and  tongue.  Moreover,  though  your 
gaze  is  focused  on  the  mouth,  all  the  rest  of 
the  face  is  visible  to  you.  The  most  skillful 
lip-reader  would  find  his  difficulties  doubled 
if  he  could  see  only  the  mouth  nnd  the  rest 
of  the  face  were  masked;  but  if  he  could  see 


CON\^RSATION  PRACTISE  39 

the  rest  of  the  face  and  not  the  mouth,  the 
difficulties  would  be  increased  a  hundred-fold. 

Always  watching  the  mouth  means  more 
than  watching  only  when  you  are  personally 
addressed.  It  means  watching  it  in  general 
conversation,  watching  it  in  public  places, 
watching  it  in  the  case  of  a  preacher  or  lec- 
turer, in  short,  always  watching  it.  If  you 
are  very  deaf  and  still  with  little  skill  in  read- 
ing the  lips,  you  will  probably  understand 
onl}^  words  here  and  there,  and  stray  sentences, 
unless  the  conversation  is  turned  directlj^  to 
vou.  But  everv  little  counts  and  is  a  step 
toward  more.  If  only  slightly  deaf,  and  if 
you  hear  the  sound  of  the  voice  more  or  less, 
you  should  find  real  help  in  this  habit,  even 
from  the  first;  for  your  eyes  will  be  cooperat- 
ing with  your  ears,  one  helping  the  other, 
and  much  that  either  would  lose  alone  will  be 
understood. 

More  definite  practise  can  be  obtained  when 
you  and  some  one  friend  are  talking  together. 
If  your  friend  is  like  many  others,  he  will 
persist  in  talking  loud,  a  habit  formed  be- 
fore the  days  of  your  endeavor  to  read  the 
lips.  Don't  let  him.  Over  and  over  again, 
probably,  you  will  have  to  tell  him  "not  to 


40  LIP-READING 

talk  so  loud;"  he  forgets.  But  continue  to 
tell  him  until  the  new  habit  is  formed  of  talk- 
ing to  you  more  softly, — not  in  a  ^yhispe^, 
I  do  not  mean  that,  nor  even  in  a  low  tone, 
but  naturally,  or  so  that  you  hear  something, 
enough  with  the  help  of  your  eyes  to  under- 
stand, but  not  enough  to  understand  without 
such  help.  Such  a  habit  will  mean  for  him 
greatly  increased  ease  of  conversing  with 
you,  increased  delight  in  such  conversation 
for  both  of  you,  and  good  lip-reading  practise 
for  yourself. 

AYlien  talking  with  two  or  more  friends,  the 
responsibility  on  your  part  to  help  yourself 
is  a  serious  one.  In  a  previous  chapter  I 
have  said:  "It  is  very  much  easier  to  follow 
conversation  when  we  know  the  subject. 
AYhen  two  people  are  talking  we  may  say 
that  each  has  a  one-half  share;  when  three, 
each  has  a  one-third  share,  and  so  on.  This 
is  true  provided  all  can  hear.  But  if  one 
is  deaf,  while  it  is  still  true  he  has  a  half  share 
when  only  two  are  talking,  when  three  are 
talking  he  lias  no  share  at  all!  If  only  the 
others  would  talk  to  him!  But  no,  they  talk 
to  each  other,  and  he  is  out  of  it." 

It  is  not  an  easy  task  for  us  to  "butt  in"  and 


CONVERSATION  PRACTISE  41 

divert  that  one-third  share  to  us,  where  it  be- 
longs; we  need  and  ought  to  have  help  from 
the  others.  But  it  is  fundamentally  our  task, 
and  by  performing  it  as  we  should  we  gain 
practise,  and  pleasure,  and  a  great  victory. 

All  these  ways  of  securing  practise  in  con- 
versation are  casual,  yet  not  for  that  reason  to 
be  despised.  They  should  not,  however,  be 
allowed  to  usurp  the  place  of  definite  conver- 
sation practise,  practise  in  which  you  do  not 
hear  a  sound.  In  tliis  case,  if  you  are  only 
slightly  deaf,  it  will  be  necessary  for  your 
friend  or  assistant  to  talk  very,  very  softly — a 
low  voice  is  better  than  a  whisper — and  for 
you  not  to  sit  too  close,  and,  perhaps,  to  put  a 
bit  of  cotton  in  j^our  ears.  Choose  themes 
for  vour  conversation  in  which  vou  are  mutu- 
ally  interested,  and  then  let  it  take  its  course. 
Only  you  nuist  remember  that  conversation 
implies  give  and  take;  you  must  do  your 
share,  and  not  expect  a  monologue  from  your 
assistant. 

Some  bits  of  advice  for  your  general  inter- 
course with  people  wull  be  useful.  Do  not  get 
into  the  habit  of  demanding  that  you  under- 
stand every  word.  Try  to  cultivate  the  power 
of  grasping  the  thought,  of  constructing  the 


42  LIP-READING 

sentence  from  one  or  more  key  words.  Let 
the  speaker  continue  talking  until  you  catch 
the  idea,  and  do  not  interrupt  unless  you  feel 
that  what  is  being  said  is  something  you  ought 
to  know  about.  In  a  general  conversation, 
much  can  be  lost  (so  to  speak)  without  losing 
much.  Try  to  follow  the  sense  of  what  is  said, 
rather  than  to  "dig  out"  each  word.  If  you 
lose  a  word,  do  not  stop  to  think  vrliat  the 
word  was,  for  as  surely  as  you  do,  you  will 
lose  all  that  follows.  What  is  lost,  is  lost; 
never  mind  it;  but  continue  to  trv  to  follow 
the  thought.  So  long  as  you  do  follow  the 
thought  successfully,  do  not  interrupt.  You 
should,  of  course,  interrupt  if  you  lose  the 
thought  completely.  Though  it  does  not  pay, 
as  a  rule,  if  we  lose  a  word  here  and  there,  to 
interrupt  the  speaker,  we  must  be  very  careful 
not  to  carry  "bluffing"  too  far.  To  i:)rctend  to 
understand,  when  really  scarcely  anything  is 
understood,  is  inexcusable. 

The  necessity  of  a  good  light  on  the  speaker's 
face  should  be  realized.  A  light  that  makes 
visible  the  action  of  the  tongue  is  a  great 
help.  A  light  from  above,  such  as  a  high  gas- 
light, will  not  do  this;  the  light  should  be  as 
nearly  as  i)ossi])le  on  a  level  with  the  face.    If 


CONVERSATION  PRACTISE  43 

you  find  the  speaker's  face  is  in  the  shadow, 
either  change  your  own  position  to  a  more 
favorable  one,  or  ask  the  speaker  to  change 
his. 

Rapid  and  indistinct  utterance  will  be 
the  root  of  much  of  your  trouble.  If  you  can 
persuade  your  friends  to  speak  more  dis- 
tinctly', and  to  address  the  conversation 
directly  to  you,  it  will  be  a  great  help,  but 
they  must  be  cautioned  to  speak  naturally, 
and  not  to  "mouth,"  or  exaggerate,  as  this 
will  only  increase  your  lip-reading  difficulties. 

Necessity  has  been  called  the  mother  of  in- 
vention. It  is  also  the  mother  of  achieve- 
ment. The  achievements  of  all  lip-readers 
will  be  surer  and  more  rapid,  the  more  they 
force  upon  themselves  the  necessitj^  of  un- 
derstanding with  the  eyes.  We  can  best  lay 
tliis  necessity  upon  ourselves  at  first  in  our 
home  life.  As  far  as  may  be  possible,  com- 
munication with  members  of  the  family  should 
be  by  sight.  Requests  for  different  articles 
at  the  table  may  quickly  be  learned  and  un- 
derstood in  this  way.  And  at  all  other  times 
the  endeavor  should  be  made  not  to  depend 
upon  the  ears  when  the  eyes  can  serve. 


CHAPTER  V 

HOW    TO   USE   STORIES 

To  know  how  to  use  stories  and  reading- 
books  for  practise,  we  must  know  why  we 
use  them.  There  is  such  a  thing  as  practising 
in  the  wrong  way.  In  spite  of  the  opinion 
held  by  some  that  "just  practise"  is  all  that 
is  necessary,  it  is  not  so  much  the  amount 
of  practise  as  it  is  the  kind  of  practise  that 
produces  the  best  results.  There  are  right 
ways  and  wrong  ways  of  doing  everything, 
and  in  lip-reading  it  is  possible  to  practise  in 
such  a  way  as  incidentally  to  do  absolute  harm. 
One  hour  of  the  right  kind  of  practise  is  worth 
five  hours  of  the  wrong  kind. 

Keep  in  mind  that  the  aim  of  all  practise 
is  to  acquire  skill  in  understanding  coji- 
vcrsation.  In  ordinary  conversation  people 
talk  rapidly.  No  lip-reader,  however  skill- 
ful, can  be  absolutcl}^  sure  of  seeing  every 
word.  But  he  can  be  sure  of  understanding 
all  the  thought,  even  though  words  be  lost. 

44 


HOW  TO  USE  STORIES  45 

The  best  lip-readers  are  invariably  those  who 
have  the  power  of  grasping  the  thought  as  a 
whole,  and  not  through  a  word-by-word  de- 
ciphering of  the  sentence.  And  in  the  end, 
the  surest  way  of  understanding  practically 
every  word,  is  not  through  the  word-by-word 
method,  but  is  through  developing  this  syn- 
thetic power  of  constructing  the  whole  from 
the  parts.  That  is,  if  the  whole  thought  is 
understood,  the  visual  memory  of  the  rest 
;of  the  sentence  will  most  surely,  and  usually 
subconsciously,  supply  the  missing  words. 

The  chief  value  of  stories  and  reading  mat- 
ter as  material  for  lip-reading  practise  lies 
in  their  use  toward  developing  the  synthetic 
qualities  mentioned;  to  develop  the  right 
habits  of  mind — the  mental  attitude  that  is 
quickest  to  understand  conversation — stories 
are  invaluable. 

There  are  stories  and  stories.  Fundamen- 
tally the  style  should  be  as  near  the  colloquial 
as  possible,  the  style  in  which  people  talk 
rather  than  in  which  they  write.  For  this 
is  the  style  that  gives  us  the  natural  se- 
quences of  thought,  the  natural  associations 
of  ideas.  It  is  not  simply  that  the  story  should 
have  a  good  deal  of  conversation  in  it,  but 


46  LIP-READING 

that  throughout  the  sentences  should  be 
simple,  not  involved,  and  the  sequence  of 
thought  direct  from  step  to  step.  Many 
stories  and  anecdotes  in  the  newspapers  and 
magazines  provide  excellent  material.  In  the 
choice  of  books,  I  have  found  books  written 
for  children  most  available,  as  the  style  is  apt 
to  be  simpler,  more  natural,  more  direct  than 
those  written  for  adults. 

I  advise  beginning  with  short  stories  or 
anecdotes  of  about  100  to  150  words.  I  give 
a  story  here  as  an  example: 

A   LESSON   IN   PHYSIOLOGY 

A  teacher  was  explaining  to  her  class  what 
an  organ  of  the  body  is.  She  told  them  that 
an  organ  of  the  body  is  a  part  of  the  bodj'  set 
apart  for  some  special  use.  For  example, 
the  eye  is  the  organ  of  sight,  the  ear  of  hear- 
ing, etc. 

After  she  had  gone  over  the  work  pretty 
thoroughly,  she  wanted  to  find  out  how  much 
her  pupils  knew  of  the  subject.  So  she  asked 
them  who  could  tell  what  an  organ  of  the  body 
rcallv  is. 

For  some  time  there  was  no  reply.     Then 


HOW  TO  USE  STORIES  47 

the  smallest  boy  in  the  room  held  up  his 
hand.  "I  know,"  he  said.  "I  see  with  my 
eye-organ,  I  hear  with  my  ear-organ,  I  smell 
with  my  nose-organ,  I  eat  with  my  mouth- 
organ,  and  I  feel  ^^ith  my  hand-organ." 

The  steps  for  the  student  to  follow  in 
practising  this  story  are  as  follows: 

(1)  Read  the  story  over  once  to  yourself. 
The  help  of  memory  is  necessary  to  some 
beginners  if  the  story  be  practised  in  the 
*' natural"  way.  To  follow  reading  is  much 
harder  than  to  follow  conversation;  some  can 
never  follow  reading  unless  helped  by  memory, 
though  they  may  be  able  to  understand  con- 
versation readily.  In  conversation  the  mind 
more  or  less  consciously  anticipates  the 
thought,  and  sometimes  even  the  words.  In 
the  reading-practise  with  stories,  the  memory 
helps  the  mind  to  do  this.  But  memory  should 
not  help  any  more  than  may  be  necessary;  and 
so,  if  you  find  that  memory  seems  to  help  very 
much,  read  the  selected  story  one  day  and 
practise  it  the  next,  and  after  a  while  you  may 
even  try  practising  a  story  you  have  read  a 
week  before,  or  even  without  reading  it  at  all. 

(2)  Have  some  friend  or  assistant  read  the 


48  LIP-READING 

story  to  you,  in  a  tone  so  low  that  you  do  not 
hear  a  sound.  First  your  assistant  should 
read  the  story  to  himself  to  gain  familiarity 
with  it,  and  then  in  reading  to  you  should 
read  as  he  would  talk,  that  is,  in  the  col- 
loquial rather  than  the  recitative  style.  On 
this  first  reading,  you  should  endeavor,  with 
the  help  of  your  memory  and  of  the  words 
you  may  see  here  and  there,  to  follow  the 
general  thought  of  the  story.  Do  not  in- 
terrupt the  reader,  but  let  him  read  the  story 
to  the  end,  whether  you  understand  much 
or  little.  Should  you,  at  the  end,  have  un- 
derstood very  little,  read  the  story  again  to 
yourself  and  try  once  more  in  the  same  way, 
that  is  without  interruption.  If,  however, 
you  succeed  in  following  the  general  thought, 
then 

(3)  Let  the  story  be  read  to  you  again, 
and  this  time  you  should  interrupt  if  you  do 
not  get  the  thought  of  every  sentence  and  every 
clause.  In  which  case  the  whole  sentence 
or  clause  should  be  repeated  for  you.  Do  not, 
however,  interrupt  for  every  word,  provided 
you  have  seen  enough  of  the  words  to  get  the 
idea  of  the  sentence.  It  is  necessary  to  train 
the  mind  in  the  habit  of  grasping  the  whole 


HOW  TO  USE  STORIES  49 

from  the  parts,  and  there  is  no  better  way  for  a 
beginner  to  do  it  than  by  using  stories  in 
this  manner.  If  after  two  or  three  trials 
you  fail  to  understand  the  thought,  your 
assistant  should  let  you  read  the  printed 
sentence,  and  then  you  should  try  it  again.* 
(4)  By  this  time  memory  will  be  helping 
you  considerably,  and  with  such  help  you 
should  try  for  absolute  verbal  accuracy  as 
the  story  is  read  to  you  again.  Do  not,  how- 
ever, try  to  understand  word  by  word  as  you 
go  along,  but  continue  to  try  for  the  sentence 
or  clause  as  a  whole;  if  the  thought,  aided  by 
your  visual  memory,  does  not  suggest  to  you 
every  word  in  the  sentence,  let  it  be  repeated. 
But  do  not  interrupt  in  the  middle  of  a  clause, 
for  frequently  the  latter  part  of  it  will  give 
you  the  clue  to  the  whole.  And  again,  do 
not  repeat  the  sentences  after  your  assistant; 
the  habit  of  repetition  is  in  itself  a  bad  habit, 
but  is  especially  bad  in  that  it  tends  to  effect 
the  worse  habit  of  demanding  a  literal  word- 
by-word  accuracy  before  anything  is  under- 
stood at  all;  that  is,  it  places  the  emphasis 
on  the  words  instead  of  upon  the  thought. 
But  it  is  yours  to  be  honest  with  yourself 

*Your  assistant  should  express  the  same  thought  in  other  words 
or  give  you  a  clue  word  before  showing  you  the  printed  sentence. 


50  LIP-READING 

and  with  your  assistant  and  to  let  him  know 
if  you  are  not  sure  you  understand,  so  that 
he  can  repeat  until  you  are  sure.  He,  in  re- 
peating, should  say,  not  the  single  words  you 
may  have  failed  to  see,  but  always  the  whole 
clause,  the  purpose  being  to  have  these  words 
suggested  to  the  mind  by  the  natural  thought 
association  rather  than  by  word  formations. 

(5)  The  next  step  is  to  have  the  story  read 
very  rapidly  to  you;  the  aim  is  to  train  the 
eye  and  mind  to  quick  comprehension;  for 
such  comprehension  is  absolutely  essential  to 
the  successful  understanding  of  conversation. 
You  should  interrupt  for  the  thought,  though  by 
this  time  you  ought  to  be  able  to  see  almost 
everything,  for  memory  will  be  helping  greatly. 
But  the  value  of  this  rapid  practise  is  not 
lost  even  though  you  know  the  story  by  heart. 

(6)  Now,  closing  the  book,  your  assistant 
should  tell  you  the  story  in  his  own  words. 
Let  him  add  detail  and  give  as  much  change 
in  the  wording  as  he  can.  As  an  examj)le, 
I  give  herewith  '*A  Lesson  in  Physiology'* 
thus  changed: 

A  teacher  was  talking  to  her  pupils  about 
the  dillVrcnt  organs  of  the  body.     She  told 


now  TO  USE  STORIES  51 

them  that  an  organ  of  the  body  is  a  special 
part  of  the  body.  And  she  told  them  very 
carefully  about  the  eyes,  and  the  ears,  the 
nose,  the  mouth,  and  the  hand.  And  then, 
after  she  had  told  them  all  about  it,  she  wanted 
to  find  out  how  much  they  remembered.  So 
she  asked  them.     But  nobody  replied. 

"Oh!"  she  said,  "I  am  sure  some  of  you 
must  know  what  an  organ  of  the  body  is. 
Come  now,  all  who  know  raise  your  hands." 

The  smallest  boy  in  the  room  put  his  hand 
up.     "I  know,  teacher,"  he  said. 

"Well,  tell  us  then,"  said  the  teacher. 
**What  is  an  organ  of  the  bodj^?" 

And  the  boy  replied:  "I  smell  with  my  nose- 
organ,  I  see  with  my  eye-organ,  I  hear  with 
my  ear-organ,  I  eat  with  my  mouth-organ, 
and  I  feel  with  my  hand-organ." 

As  in  the  previous  work,  you  should  always 
try  to  grasp  the  sentence,  or  the  thought,  as  a 
whole.  Do  not  repeat  after  your  assistant; 
but  interrupt  if  you  fail  to  understand,  and 
let  him  repeat.  Perhaps  at  first  you  may  find 
the  changed  wording  more  difficult  than  the 
original  story  with  which  you  are  familiar. 
But  surely  in  time  you  will  find  your  assistant's 


52  LIP-READING 

own  wording  easier  than  the  original  form, 
which  is  always  a  good  sign.  For  it  is  easier, 
and  if  you  are  really  reading  the  lips  and  not 
simply  following  from  your  memory  of  the 
words,  you  ought  to  understand  the  colloquial 
form  better  than  the  written. 

(7)  Questions  are  an  important  part  of 
conversation;  practise  in  answering  questions 
therefore  is  essential.  This  practise  is  readily 
given  by  basing  the  questions  on  the  story. 
The  questions  should  be  natural,  and  at  first 
rather  simple.  The  words  and  the  phrases 
of  the  story  may  well  be  re-used  in  forming 
the  questions.*  You  should  not  endeavor  to 
repeat  the  question  after  your  assistant; 
to  do  so  would  require  a  word-for-word  un- 
derstanding of  it.  But  such  an  understanding 
is  not  necessary  in  order  to  answer  a  great 
many  questions;  if  a  few  words  suggesting 
the  thought  be  grasped,  the  question  can 
be  answered  intelligently.  This  is  so  over 
and  over  again  in  conversation,  and  therefore 
it  is  the  habit  of  mind,  the  mental  attitude 
toward  questions,  that  the  lip-reader  should 
cultivate.  So  always  answer  the  question 
in  this  practise,  if  only  the  thought  be  under- 
stood. 

*Tliis  may  be  done  if  the  words  of  the  book  make  a  n.-itiiral  question. 


HOW  TO  USE  STORIES  53 

I  give  a  few  questions,  based  on  the  story 
previously  quoted,  as  examples:  What  was 
the  teacher  explaining  to  her  class?  What 
did  she  tell  them  an  organ  of  the  body  is? 
Wliat  examples  did  she  give  them?  What  did 
she  want  to  find  out,  after  she  had  told  them 
all  about  it?  How  long  before  she  had  a 
reply?  Who  raised  his  hand  at  last?  What 
did  he  say  he  saw  with?  What  did  he  smell 
with?  What  did  he  do  with  his  mouth- 
organ?     How  did  he  feel? 

(Aside  to  your  assistant :  If  you  form  your 
questions  so  that  they  must  be  answered  by  a 
statement  and  not  by  "yes"  or  "no,"  your 
pupil  will  find  that  he  cannot  "bluff"  in  his 
replies.) 

(8)  Still  another  way  of  practising  stories 
is  by  having  your  assistant  skip  around  from 
sentence  to  sentence.  The  chief  value  of 
this  practise  lies  in  training  the  mind  to 
jump  quickly  from  one  thought  to  another. 
Therefore  do  not  attempt  to  repeat  the  sen- 
tences after  your  assistarut,  but  indicate  by  a 
nod  of  the  head  that  j^ou  have  understood  the 
thought  (not  necessarily  every  word),  so  that 
he  may  quickly  read  you  another  sentence. 
If  you  do  not  understand,  let  him  repeat. 


54  LIP-READING 

Stories  used  in  the  ways  advised  are  in- 
tended, not  for  eye-training,  but  to  train  the 
mind  in  the  habits  that  will  help  you  most 
to  understand  conversation.  Training  the 
mind  along  the  right  lines  is  even  more  im- 
portant than  training  the  eyes. 

If  you  find  at  the  first  lesson  that  you  under- 
stand the  words  of  your  assistant  as  well  as 
the  words  of  the  book  you  should  read  ten 
stories  in  advance.  In  this  case  your  assistant 
should  begin  the  story  program  by  telling 
you  the  story  in  his  own  words,  first  showing 
you  the  title  and  proper  names.  Then  he 
should  read  the  story  with  interruption  for 
thought  and  follow  the  rest  of  the  program 
as  above.  If  you  understand  the  words  of 
your  assistant  better  than  the  words  of  the 
book,  you  should  not  read  any  stories  in 
advance. 


CHAPTER  VI 

THE    STUDY    OF    THE    MOVEMENTS 

The  labial  and  other  formations  for  the 
different  sounds  appear  on  the  face  not  as  po- 
sitions but  as  movements.  That  which  is 
formed  and  gone  again  in  1-12  to  1-13  of  a 
second — the  average  length  of  time  for  each 
sound  formation  in  colloquial  utterance — can 
hardly  be  called  a  position.  And  any  study 
of  the  sounds  as  positions,  that  is  of  the  sounds 
formed  singly  and  held,  is  based  on  a  false 
conception  of  the  requirements  of  eye-training 
for  purposes  of  lip-reading.  The  only  true 
way  of  studying  the  sounds  is  by  observing 
the  formations  as  they  occur  in  words,  that  is, 
the  movements  for  the  sounds  rather  than  the 
positions.  Thus,  if  the  student  wishes  to  study 
the  formation  of  long  oo,  he  should  take  a  word 
containing  it,  as  mooii,  and  concentrate  his 
attention  on  the  oo  as  he  savs  the  whole  word. 

There  are  two  other  reasons  why  the  sounds 
should  be  studied  in  words  and  not  singly  by 


5Q  LIP-READING 

themselves.  For  not  only  is  this  the  only 
true  way  of  seeing  the  formations  as  move- 
ments, but  also  (first)  it  is  the  only  true  waj'' 
of  seeing  the  movements  when  formed  natur- 
ally, without  exaggeration,  and  (second)  it  is 
the  only  way  to  avoid  for  many  sounds  a 
gross  mispronunciation.  Almost  any  sound 
tends  to  be  "mouthed"  or  exaggerated  when 
pronounced  alone,  and  some  sounds,  such  as 
w  and  r  cannot  be  correctly  pronounced  alone 
except  by  the  expert.  The  tendency  for  the 
non-expert  in  pronouncing  iv  by  itself  would 
be  to  say  "double-yoo."  But  put  the  sound 
in  a  word,  as  "wet,"  and  you  do  not  say 
"double-yoo-et."  The  sound  of  /  would 
tend  to  be  "eff,"  but  for  "five"  you  do  not 
say  "effive."  The  safe,  the  sure  way,  there- 
fore, of  studving  sound  movements  is  alwavs 
to  study  the  formations  as  they  occur  in 
words. 

A  word  may  be  said  about  the  use  of  pic- 
tures *  in  the  study  of  the  sounds :  No  viovC' 
ment  can  be  shown  by  a  picture,  hence  pic- 
tures can  have  no  value  as  a  means  of  practise. 

*  II  is  an  intcresLing  fact  that  pictures  of  tlie  inoutli  illustrating 
the  vowel  sounds  were  used  in  a  book  for  instruction  in  lip-reading, 
by  F.  M.  B.  von  Ilehnont,  published  at  Sulzbach,  Bavaria,  1CC7. 


THE  STUDY  OF  THE  MOVEMENTS    57 

However,  though  all  sounds  are  movements, 
vowels  partake  more  of  the  nature  of  shapes 
than  consonants,  and  these  shapes  can  be 
shown  by  pictures.  But  the  value  of  the  pic- 
tures is  as  an  aid  to  a  clearer  exposition  of  the 
vowel  characteristics  and  not  at  all  as  a  means 
of  practise.  Consonants  are  so  purely  move- 
ments, and  are  moreover  so  much  more  read- 
ily described  than  vowels,  that  pictures  of 
them  at  the  best  can  render  no  help,  while 
on  the  contrary  they  may  easily  lead  to  false 
impressions. 

The  method  of  learning  the  movements  in- 
volves, first,  a  clear  conception  of  their  char- 
acteristics, and,  second,  much  practise  in  the 
observation  of  them.  The  aim  of  the  practise 
is  to  make  the  recognition  of  the  sound  move- 
ments a  subconscious  act,  that  is,  by  much 
repetition  to  make  the  association  of  certain 
movements  with  certain  sounds  a  habit, 
something  which  we  do  without  the  conscious- 
ness of  effort  or  concentration.  Such  habits 
of  association  can  be  formed  only  by  repetition 
in  practise;  when  formed,  the  mind  is  left 
free  to  concentrate  on  the  thought  of  the 
speaker,  not  on  how  he  is  forming  his  speech, 
but  on  what  he  is  saying. 


58  LIP-READING 

I  had  a  letter  the  other  day  from  one  of  my 
pupils,  in  which  she  said:  "I  certainly  do  very 
well  in  reading  the  lips,  but  I  don't  know  how  I 
do  it."  And  there  is  no  more  necessity  that 
she  should  know  how  than  there  is  that  the 
hearing  should  know  how  they  hear.  Those 
who  hear  know  the  different  sounds:  onlv  in 
listening,  they  never  stop  to  think  of  them. 
Nor  should  the  lip-reader  think  of  the  different 
movements,  but  should  concentrate  on  the 
speaker's  thought. 

It  is  analos^ous  to  the  wav  in  which  we  read 
the  printed  page.  We  do  not  think  of  each 
letter,  nor  even  of  each  word,  but  rather  of  the 
thought  conveyed.  Should  we  stop  and  spell 
out  each  word,  we  should  have  at  best  only  a 
vague  idea  of  what  we  were  reading.  Just  as 
we  have  made  our  knowledge  and  recognition 
of  the  printed  letters  a  matter  of  habit, 
performed  subconsciously^  so  should  we  en- 
deavor to  make  our  recognition  of  the  sound 
movements. 

Perfection  in  this  ability  to  see  the  sounds 
is  impossible,  and  for  two  reasons:  First, 
because  no  two  mouths  are  just  the  same,  and, 
second,  because  some  of  the  movements  are  so 
slight  and  c^uick  that  the  eye,  while  it  may  see 


THE  STUDY  OF  THE  MOVEMENTS    59 

them  sometimes,   cannot  be  sure  of  always 
seeing  them. 

No  two  mouths  are  just  the  same;  some  are 
very  easy  and  some  are  very  hard,  witli  all 
degrees  of  difficulty  in  between.  And  yet  all 
mouths  do  conform  to  certain  general  laws  in 
the  formation  of  the  movements.  It  is  sim- 
ilar to  the  peculiarities  of  handwriting;  while 
no  two  handwritings  are  the  same,  and  while 
some  are  easily  legible  and  some  read  only 
with  great  difficulty,  everybody  conforms, 
or  tries  to  conform,  to  certain  general  laws 
in  the  formation  of  the  letters. 

The  second  reason  why  perfection  in  seeing 
the  sounds  is  not  possible  is  because  of  the 
great  obscurity  of  some  of  the  movements. 
The  difi'erence  between  vocal  and  non-vocal 
consonants  is  invisible  in  ordinary  speech; 
"bat"  and  "pat,"  for  example,  look  exactly 
the  same.  The  obscure  tongue  consonants, 
as  t,  d,  and  n,  cannot  be  seen  with  any  degree 
of  dependability.  The  palatal  consonants, 
k,  hard  g,  ng,  the  eye  sees  very  rarely.  Some 
of  the  vowels,  as  short  i,  short  e,  long  a,  are 
hard  to  see  and  the  eye  cannot  be  always  cer- 
tain of  them. 

The    way    to    practise    for    these    difficult 


60  LIP-READING 

sounds  is  not  by  an  exaggeration  of  their 
movements.  It  is  a  waste  of  time  to  try  to 
make  the  eye  see  by  "mouthing"  what  cannot 
be  seen  in  ordinary  conversation.  The  aim 
should  be  to  know  these  difficult  sounds  as 
well  as  possible  when  pronounced  naturally, 
but  not  to  waste  energy  in  striving  for  an  im- 
possible perfection.  Also  it  should  be  to  know 
the  easier  movements  with  an  almost  infallible 
accuracy,  leaving  largely  to  the  mind  the  task 
of  supplying  the  difficult  ones  from  the  thought 
of  the  sentence. 

"\Micn  studying  the  movements  it  must  be  remembered  that  tliis 
book  is  based  on  the  revelation  of  the  movements  rather  than  the 
formation,  as  the  Hp-rcadcr  is  concerned  with  this  side  of  the  study 
only.  It  is  for  this  reason  that  the  cnlcnded  group  of  vowels  (see 
Section  III,)  was  chosen  first  and  developed  in  the  order  of  their 
simplicity.  These  vowels  give  the  clearest  lip  movements.  A 
vowel  giving  a  narrow  opening  of  the  lips  is  readily  visible,  as  the  view 
is  not  obstructed  nor  the  mind  distracted  by  the  tongue  or  teeth. 
The  second  group  chosen  was  the  relaxed,  because  throughout  the 
book  the  principle  of  contrast  by  comparison  has  been  followed, 
and  only  such  niovemcnls  as  have  some  clement  in  coiniuon  are 
compared.  The  contrast  practise  is  of  very  great  value.  The  third 
group  developed  is  the  puckered.  It  will  be  noted  that  there  are 
no  contrast  words  in  the  lesson  on  long  oo,  puckered-narrow.  That 
is  because  the  movements  j)revi()usly  studied  cannot  be  properly 
contrasted  with  this  new  movement.  • 


CHAPTER  Vn 

VOWELS 

Vowels  are  formed  fundamentally  by  the 
tongue,  but  to  the  eye  of  the  lip-reader  they 
are  revealed  chiefly  by  the  lips.  There  are 
three  groups  of  vowel  movements:  (1)  Those 
in  which  the  lips  at  the  corners  tend  to  be 
drawn  back  or  extended;  (2)  those  in  which 
the  lips  are  neither  puckered  nor  extended 
but  are  simply  opened  naturally,  and  are  lax, 
or  relaxed,  and  (3)  those  in  which  the  lips 
tend  to  be  rounded  or  drawn  together,  or 
'puckered.  Under  each  of  these  three  groups 
are  to  be  found  in  colloquial  speech  three 
widths  of  opening  between  the  lips,  namely, 
a  narrow  opening,  a  medium  and  a  wide. 
The  pictures  of  the  vowels  will  help  the  student 
to  understand  the  peculiarities  as  described. 

Extended  Vowels 

Long  e — Extended-Narrow 

For  the  sound  of  long  e,  as  in  *'keen,"  the 
lips  are  slightly  drawn  back,  or  extended,  at 

61 


62  LIP-READING 

the   corners,    and   the   opening   between   the 
upper  and  lower  hps  is  narrow. 

SJiort  e — Extended-Medium 

For  the  sound  of  short  e,  as  in  "get,"  the 
Hps  are  slightly  extended  at  the  corners,  and 
the  opening  between  the  lips  is  neither  nar- 
row nor  wide,  but  is  medium.  The  a,  as 
in  "care,"  also  has  this  extended-medium 
movement. 

Short  a — Extended-Wide 

For  the  sound  of  short  a,  as  in  "cat,"  the 
lips  are  slightly  extended  at  the  corners,  and 
the  opening  between  the  Hds  is  the  widest  of 
the  extended  vowels. 

Relaxed  Vowels 

Short  I — Relaxed-N arrow 

For  the  sound  of  short  i,  as  in  "kid,"  the 
lips  have  the  natural  or  relaxed  movement,  and 
the  opening  between  the  lips  is  narrow. 

Short  u — Relaxed-Medium 

For  the  sound  of  short  u,  as  in  "cut,"  the 
lips  are  relaxed,  and  the  opening  between  the 
upper  and  lower  lips  is  neither  narrow  nor 
wide,  but  is  medinm. 


VOV\'ELS  63 

A  h — Rclaxed-Wide 

For  the  sound  of  ah,  as  in  "cart,"  the  lips 
are  relaxed,  and  the  opening  between  the  hps 
is  the  widest  of  the  relaxed  vowels.  Short  o, 
as  in  "cot,"  usually  has  this  relaxed  wide 
movement. 

Puckered  Vowels 

Long  do — Puckered-N arroio 

For  the  sound  of  long  oo  as  in  "coon,"  ob- 
serve that  the  lips  are  drawn  together  or 
puckered,  and  that  the  opening  between  the 
upper  and  lower  lips  is  very  narrow. 

Short  00 — Piickered-MMiuM 

For  the  sound  of  short  06,  as  in  "good,"  the 
lips  are  'puckered,  but  the  opening  between  the 
upper  and  lower  lips  is  wider  than  for  long  00, 
though  still  not  wide;  that  is,  the  opening  is 
viedium. 

All) — Puckered-Wide 

For  the  sound  of  aw,  as  in  "cawed,"  tiie 
lips  are  slightly  puckered,  and  the  opening 
between  the  lips  is  the  icidest  of  the  puckered 
vowels.  Other  sounds  having  the  same  move- 
ment are  o  in  "orb"  and  usually  o  in  "ore." 


CHAPTER  VIII 

COXSOXANTS 

CoxsoxAXT  movements  are  at  once  easier 
and  more  difficult  than  the  vowel  movements; 
that  is,  there  are  seven  out  of  eleven  consonant 
movements  that  can  be  so  well  learned  that  the 
expert  lip-reader  sees  them  practically  every 
time,  and  these  movements  are  less  subject 
than  the  vowels  to  the  personal  peculiarities  of 
the  speaker.  But  consonant  movements  are 
quicker  than  vowel  movements,  and  for  many 
of  the  consonant  movements  there  are  two  or 
more  sounds  having  the  same  visible  char- 
acteristics. For  example,  p,  h,  and  m,  in  "pie," 
*'by,"  and  "my,"  look  alike,  as  do  also/ and  v, 
in  "few"  and  "view."  This  gives  rise  to  a 
consideral)lc  group  of  so-called  homophenous 
■words,  words  that  look  verj^  simihir  or  alike; 
methods  of  dealing  with  this  difficulty  will  be 
treated  later. 

Consonants  mav  be  divided  into  three 
groups:  (1)  those  that  are  revealed  by  the  lip 

64 


CONSONANTS  65 

movement,  (2)  those  revealed  by  the  tongue 
movement,  and  (3)  those  revealed  by  the 
context,  being  seen  by  the  mind  rather  than 
by  the  eye. 

Consonants  Revealed  by  Lips 

P,  h,  m — Lips- Shut 

For  p,  in  "pie,"  b,  in  "by,"  and  m,  in  "my," 
the  lips  open  from  a  shut  position.  This  shut 
position  is  the  characteristic  that  reveals  these 
three  sounds.  It  is  the  same  for  each  in  or- 
dinary, rapid  speech;  the  sounds  must  be 
told  one  from  the  other  by  the  context. 

F,  V — Lip-ta-Teeth 
For/,  in  "few,"  and  v,  in  "view,"  the  center 
of  the  lower  lip  touches  the  upper  teeth.    Both 
sounds  look  the  same  and  must  be  told  apart 
by  the  context. 

Wh,  iv — Puckered-Variable 
For  2vh,  in  "what,"  and  iv,  in  "wet,"  the  lips 
are  puckered,  very  much  as  for  long  TJd;  but 
the  degree  of  puckering  is  more  variable,  being 
greater  in  slow  and  careful  speech,  and  less  in 
rapid  colloquial  utterance.     {Wh  and  w,  bcir.g 


GQ  LIP-READING 

consonants,  are  seldom  confused  with  long  oo^ 
which  is  a  vowel,  because  consonants  and 
vowels  are  rarely  interchangeable  in  words; 
for  example,  though  oo,  in  "moon,"  looks 
much  like  iv,  it  couid  not  be  mistaken  for  lOy 
since  mw7i  substituting  w  for  oo,  does  not 
make  a  word.) 

R — Pucker  ed-Ccrners 
For  r,  in  "reef,"  before  a  vowel,  the  lips 
show  a  drawing  together  or  puchering  at  the 
comers.  The  contrast  of  "three"  and  "thee" 
will  help  to  show  this.  After  a  vowel,  as  in 
*'arm,"  r  tends  to  be  slurred  and  will  com- 
monly show  no  movement  whatever.  If 
more  carefully  pronounced,  however,  it  may 
show  a  slight  puckering  at  the  corners. 

S,  z — Tremor-at-Corners 

For  s,  in  "saw,"  and  z,  in  "zone,"  the 
muscles  just  outside  the  corners  of  the  mouth 
are  tightened  or  drawn,  causing  a  slight 
tremulojis  movement  there.  This  movement 
is,  at  first,  hard  to  see,  but  when  once  thor- 
oughly learned  it  becomes  comjiaratively 
easy.  An  additional  help  will  be  found  in 
that  the  teeth  are  very  close  together,  closer 


CONSONANTS  G7 

than  for  any  other  sound.  The  movement 
on  the  whole  is  very  much  Hke  that  for  long 
e,  extended-narrow;  l)ut  it  is  very  rarely 
confused  with  the  c  movement,  for  c  is  a  vowel 
and  s  and  z  are  consonants. 

Sh,  zh,  ch,  j — Lips-Projected 

For  sh,  in  "sham,"  zh  (the  z,  in  "azure"  has 
the  sound  of  zh),  ch,  in  "chap,"  and  j,  in 
"jam,"  the  lips  are  thrust  forward  or  jjro- 
jected. 

Consonants  Revealed  by  Tongue 

Th —  Tongue-to-  Teeth 

For  th,  in  "thin,"  and  "then,"  the  point 
of  the  tongue  shows  either  between  the  teeth 
or  just  behind  the  upper  teeth. 

L — Pointed-Tongue-to-Gum 

For  /,  in  "leaf,"  the  point  of  the  tongue 
touches  the  upper  gum.  Being  formed  within 
the  mouth,  this  sound  cannot  always  be  seenj 
though  the  trained  eye  sees  it  frcquentlj^ 

T,  d,  n — Flat-Tongne-to-Gum 
For  t,  in  "tie,"  6?,  in  "die,"  and  n,  in  "nigh," 
the  flat  edge  of  the  tongue  touches  the  upper 


68  LIP-READING 

gum.  This  tongue  movement  shows  even  less 
than  that  for  Z;  while  the  trained  eye  may  see 
it  sometimes,  reliance  in  telling  the  somids 
must  frequently  be  on  the  context. 

Consonants  Revealed  by  Context 

Y — Relaxed-N  arrow 

For  y,  in  "yes,"  the  lips  are  relaxed  and  the 
opening  between  the  upper  and  lower  lips  is 
narroio.  The  movement,  however,  is  so  quick 
and  so  slight  that  in  ordinary-  speech  the  eye 
rarely  sees  it.  But  although  the  sound  is  a 
hard  one  to  see,  it  causes  the  lip-reader  com- 
paratively little  trouble;  this  is  because  we  do 
not  have  the  sound  very  often.  F,  as  a  con- 
sonant, occurs  only  before  vowels,  and  hence 
never  occurs  at  the  end  of  a  word,  seldom  in 
the  middle,  and  usually  at  the  beginning. 
But  of  the  words  that  begin  with  ?/,  there  are 
not  more  than  twentj^-five  in  common  use, 
and  many  of  these,  such  as  "you"  and  "yes," 
can  readily  be  told  by  the  association  or  con- 
text. 

K,  g  (Hard),  iig — Throat  Movemefit 

For  kf  in  "kin,"  g,  in  "go,"  and  ng,  in 
"rang,"  a  drawing  up  of  the  throat  nuiscles 


CONSONANTS  69 

just  above  the  Adam's  apple  may  some- 
times be  seen.  But  the  movement  is  sHght, 
and  if  seen  at  all  must  be  seen  while  the  eyes 
are  on  the  mouth,  and  hence  the  lip-reader 
gets  very  little  help  from  the  throat.  Usually 
these  sounds  must  be  revealed  by  the  context. 

H 

For  h,  in  "hat,"  there  is  no  movement. 
H  has  the  appearance  of  the  following  vowel. 
It  must  always  be  told  by  the  context. 

In  taking  up  the  study  of  the  consonants  the  pupil,  or  teacher, 
must  still  keep  in  mind  that  the  study  is  based  on  revelation  and  goes 
from  the  simple  to  the  complex.  A  pure  lip  consonant  was  chosen 
for  the  first  lesson,  i.  e.,  p,  b  and  m.  It  is  both  formed  and  revealed 
by  the  lips  and  is  the  easiest  of  all  the  consonant  movements.  WIi 
and  w  might  have  been  chosen  as  next  in  order,  but  as  wli  and  w 
cannot  be  used  both  before  and  after  a  vowel  they  do  not  afford  so 
large  a  vocabulary  as/  and  v.  The  consonants  formed  by  the  tongue, 
being  next  in  simplicity,  were  given  as  the  second  group — first  those 
revealed  by  the  lips,  as  r  before  a  vowel,  s,  z,  sh,  zh,  ch  and  j,  and  then 
those  revealed  by  the  tongue  in  the  order  of  their  simplicity.  The 
last  of  the  consonants  are  the  "palate",  which  are  practically  invisi- 
ble. Note  that  the  three  simplest  dijihlhongs  are  brought  in  after  /,  d 
and  n  and  before  l;  g  (hard),  ng,  nk  and  y,  to  give  a  breathing  spell 
and  prevent  discouragement.  There  are  many  variations  and  com- 
binations of  movements  in  the  English  language,  but  only  those  that 
are  always,  or  predominantly,  one  tiling  or  the  other  have  been 
included,  as  ch,  j,  soft  g,  soft  c  and  hard  c,  for  instance,  as  the  aim  waa 
not  to  confuse  the  mind  of  the  pupil  with  too  many  details. 


CHAPTER  IX 

WORD    PRACTISE 

To  practise  words  simply  for  the  sake  of 
the  words — that  is,  to  try  to  memorize  them 
as  one  would  a  vocabulary — is  the  least  help- 
ful form  of  word -study;  for  the  analogy  be- 
tween the  study  of  lip-reading  and  the  study 
of  a  foreign  language  does  not  hold  here. 
Certainly  some  good  can  be  obtained  from  such 
practise,  but  it  is  not  possible  so  to  memorize 
word  formations  that  the  eye  will  infallibly 
recognize  them  whenever  seen.  Moreover, 
there  is  a  better  way  of  studying  word-forma- 
tions than  in  the  study  of  the  words  by  them- 
selves, and  this  will  be  discussed  in  the  chap- 
ter on  Sentence  Practise. 

There  are  several  ways  of  practising  words, 
which,  besides  the  intrinsic  value  they  have, 
include  any  value  that  the  endeavor  to  memo- 
rize the  words  would  have  too.  Words  may 
be  used  to  train  the  eye  in  accuracy  of  ob- 
servation of  the  sound  formation,  to  train  the 

70 


WORD  PRACTISE 


71 


mind  in  quickness  of  associated  thought  or 
idea  perceptions,  and  to  train  both  eye  and 
mind  in  alertness  of  response.  How  words 
may  be  so  used  can  best  be  shown  by  definite 
examples,  and  for  that  purpose  I  give  here- 
with a  list  of  words: 


shoot 

sharp 

peach 

page 

.should 

show 

mesh 

ocean 

short 

shy 

mash 

nation 

sheep 

shout 

dish 

pleasure 

shed 

shape 

rush 

azure 

shad 

douche 

harsh 

leisure 

ship 

push 

poach 

seizure 

shut 

porch 

pouch 

enjoy 

It  will  be  noticed  that  the  lips-projected 
movement  for  sh,  zh,  ch,  or  j,  enters  into  each 
of  these  words,  as  indicated  by  the  italic  let- 
ters, first  as  the  initial  element,  then  as  the 
final  element,  and  then  as  an  element  in  the 
middle  of  the  word. 

The  first  and  most  obvious  way  of  using  the 
list  given  above  is  in  the  study  of  the  lips- 
projected  movement.*  For  this  purpose  have 
your  assistant  read  the  words  to  you,  not  too 
rapidly,  while  you  concentrate  your  observa- 
tion on  this  movement.    For  the  present  you 

*For  detailed  directions  refer  to  outline  on  page  97. 


72  LIP-READING 

need  pay  no  regard  to  the  words  themselves; 
you  should  not  even  try  for  them.  Simply 
make  sure  that  you  see  the  lips-projected 
movement  in  each  word,  and  have  any  words 
repeated  in  which  you  fail  to  see  it  until  the 
movement  is  clear. 

Secondly,  the  words  may  be  used  for  the 
study  of  each  movement  in  them.  To  do  this, 
your  assistant  should  read  a  word,  and  when 
you  have  shown  by  repetition  that  you  have 
understood  it,  let  him  read  the  word  to  you 
aoain  while  vou  concentrate  vour  attention  on 
the  movement  for  the  first  sound  in  the  Avord ; 
then  again,  while  you  concentrate  on  the 
second  movement;  and  again  for  the  third 
movement,  and  so  on.  For  example,  the  first 
word  in  the  list  is  "shoot."  First  make  sure 
vou  know  the  word,  and  then  as  vour  assistant 
repeats  it  watch  for  the  lips-projected  move- 
ment for  the  sh,  then  again  for  the  puckered- 
narrow  movement  for  the  long  oo,  and  finally 
for  the  flat-tongue-to-gum  movement  for  tlie 
t.  You  should  not  repeat  the  word  each  time; 
simply  watch  and  make  sure  you  see  each 
sound.  Your  assistant  needs  to  be  cautioned 
always  to  say  the  whole  word,  lo  say  it  natu- 
rally without  exaggeration,  and  not  to  spell  it. 


WORD  PRACTISE  73 

So  far,  the  work  is  aimed  to  train  the  eye  in 
accuracy  of  observation.  To  train  the  mind  in 
ciuickness  of  associated  thought  perceptions, 
the  words  may  be  used  in  sentences.  Your 
assistant  sliould  first  give  you  a  word,  and 
then,  when  you  have  understood  it,  let  him 
compose  and  give  you  a  sentence  containing 
the  word.  The  object  is  to  have  the  sentence 
revolve  about  that  word  with  an  idea  sug- 
gested by  it.  For  example,  take  the  first 
word  in  the  list,  "shoot":  an  idea  suggested 
by  the  word  would  be,  "Did  you  shoot  the 
mad  dog?"  Or,  "I  saw  a  star  shoot  across 
the  sky?"  Or,  "Did  j^ou  ever  shoot  the 
chutes?"  But  such  a  sentence  as,  "Did  you 
ever  shoot?"  would  not  be  right,  because 
no  idea  is  suggested  beyond  the  idea  of  shoot- 
ing, and  moreover,  because  the  sentence 
might  easily  be  mistaken  for,  "Did  you  ever 
chew?"  In  the  work  with  your  assistant 
it  is  advisable  that  several  sentences  be  com- 
posed for  each  word,  but  for  practise  and  ex- 
ample I  will  give  one  sentence  each  for  the 
words  in  the  above  list: 

should — Tell  me  what  I  should  do. 

short — My  time  was  very  short. 

shccj) — "Little  Bo-peep  lost  her  sheep." 


4  LIP-READING 

shed — I  wish  the  cat  would  not  shed  her 
hairs  on  the  chairs. 

shad — We  had  baked  shad  for  dinner. 

ship — What  hour  does  the  ship  sail? 

shut — Will  you  please  shut  the  door? 

sharp — The  knife  is  not  sharp  enough. 

shoio — Will  you  show  me  the  book? 

shy — She  is  a  very  shy  little  girl. 

shout — Don't  shout  so  loud. 

shape — What  is  the  shape  of  the  house? 

douche — I  used  a  douche  for  mv  cold. 

push — I  will  push  you  in  the  wheel  chair. 

porch — We  sat  out  on  the  porch  last  even- 
ing. 

peach — The  peach  is  not  ripe  enough  to  eat. 

mesh — The  veil  has  a  very  fine  mesh. 

mash — Will  you  mash  the  potatoes  for  me? 

dish — I  put  the  dish  on  the  table. 

rush — I  wish  you  were  not  always  in  a  rush. 

harsh — The  man  has  a  verv  harsh  voice. 

poach — Would  you  like  to  have  me  poach 
the  egg? 

pouch — The  postman's  mail  pouch  is  full  of 
letters. 

page — Will  you  find  the  page  for  me  in  the 
book? 

ocean — "My  bonnie  lies  over  the  ocean." 


WORD  PRACTISE  75 

nation — The  nation  celebrates  its  birthday 

on  the  Fourth  of  July. 
'pleasure — It  will  be  a  pleasure  for  me  to 

have  vou  call. 
azure — The  sky  is  a  beautiful  azure. 
seizure — The  custom   house  made   a  large 

seizure  of  smuggled  goods. 
leisure — I  have  very  little  leisure  for  read- 


ing- 


enjoy — Don't  you  enjoy  a  good  game  of 
cards? 

To  use  the  list  of  words  to  develop  quickness 
of  response  by  eye  and  mind,  it  is  necessary 
that  your  assistant  should  know  the  words 
practically  by  heart.  He  should  then  say  the 
"words,  while  you  repeat  them.  Immediately 
when  you  have  repeated  a  word  he  should  give 
you  the  next  word.  You,  too,  must  try  to 
make  your  response  as  quickly  as  possible,  the 
whole  effort  being  to  "hit  up  the  speed"  to  the 
maximum.  The  words  may  be  given  first  in 
order,  and  then  skipping  around,  over  and 
over,  until  you  can  maintain  your  quickness 
of  response  from  word  to  word  through  the 
list. 


CHAPTER  X 

SENTENCE    PRACTISE 

The  chief  value  of  sentence  practise  is  for 
mind  training;  but  any  form  of  practise  must 
also  have  value  in  training  the  eyes.  Sen- 
tences, too,  can  be  used  in  such  a  way  as 
chiefly  to  teach  the  eye  sound  and  word  form- 
ations. First,  however,  they  should  be  used 
in  the  more  obvious  way  of  training  the  mind 
to  grasp  the  thought.  For  this  pin-pose,  as 
soon  as  the  student  is  sufficiently  advanced, 
sentences  should  be  used  with  which  he  is 
not  in  any  way  familiar  either  by  previous 
practise  or  even  reading. 

As  these  sentences  are  read  to  vou  vour 
effort  should  be  to  understand  them,  not 
analytically,  but  synthetically;  not  word  by 
word,  but  the  sentence  as  a  \vholc.  The  first 
part  of  a  sentence  will  usually  be  found  the 
hardest;  if,  failing  to  understand  that  part, 
your  mind  stops  and  tries  to  i)uzzle  it  out,  you 
will  lose  not  only  the  first  but  also  the  last. 

76 


SENTENCE  PRACTISE  77 

On  the  other  hand,  if  you  strive  to  under- 
stand the  sentence  as  a  whole,  and  do  not  let 
your  mind  stop,  no  matter  how  much  may  be 
lost,  frequently  the  last  part  of  the  sentence 
may  suggest  the  first  part,  and  thus  complete 
understanding  is  attained. 

Sentences  may  also  be  used  to  train  the  mind 
to  work  along  the  line  of  natural  thought- 
associations.  x\s  all  lip-readers  know,  the 
ease  of  understanding  is  increased  greatly  if 
we  have  any  idea  of  the  subject  of  conver- 
sation. Much  of  conversation  is  a  direct 
progression  from  one  associated  thought  to 
another,  and  hence  any  training  that  helps  the 
mind  to  quickness  in  anticipation  of  the  idea 
has  great  value.  Illustrations  of  the  method 
of  using  sentences  in  this  way  may  be  drawn 
from  the  sentences  used  in  the  preceding 
chapter  on  v.ord  practise.  I  will  give  first  the 
original  sentence,  and  then  several  sentences 
associated  with  it  in  idea  or  thought. 

Tell  me  what  I  should  do.  What  shall  I 
ever  do  about  it.^  I'm  sure  I  don't  know; 
don't  ask  me. 

My  time  w^as  very  short.  How^  much  time 
did  you  have?  Only  about  five  minutes. 
That  wasn't  long  enough. 


78  LIP-READING 

"What  hour  does  the  ship  sail?  At  10 
o'clock  to-morrow  morning.  I'll  be  at  the 
pier  to  say  good-bye.  I  hope  you'll  have  a 
pleasant  voyage. 

Will  you  please  shut  the  door.^^  I  feel  a 
draught  from  the  hall.  Is  there  a  window 
open  anywhere? 

We  sat  on  the  porch  last  evening.  It  was 
rather  cool,  but  it  was  a  glorious  night. 
There  was  no  moon,  but  I  never  saw  the  stars 
shine  more  brightly. 

I  wish  you  were  not  always  in  a  rush.  I 
never  have  time  to  talk  with  you.  You  are 
always  in  such  a  hurry. 

The  illustrations  given  above  are  intended 
to  be  suggestive,  not  complete.  jNIuch  further 
v/ork  along  this  line  can  easily  be  given  you  by 
a  clever  assistant. 

The  sentences  should  also  be  used  to  train 
the  mind  to  quickness  of  response.  The 
original  sentences,  after  all  the  preceding 
practise,  will  be  pretty  well  in  mind.  Let 
them  be  read  to  you  now  with  as  high  a  de- 
gree of  speed  as  your  ability  to  understand 
will  allow.  They  should  be  read  not  in  order, 
but  ski])i)liig  around.  You  should  endeavor 
to  repeat  each  sentence  as  quickly  as  possible. 


SENTENCE  PRACTISE  79 

It  is  permissible,  in  order  to  help  create  this 
habit  of  (jLiick  response,  to  get  any  help  from 
memory  that  j^ou  can;  that  is,  if  you  see  a  few 
of  the  words  of  the  sentence  and  those  few 
suggest  the  whole  sentence,  let  your  response 
be  immediate,  just  as  though  you  had  seen 
everything. 

Finallj%  sentences  may  be  used,  even  better 
than  words  by  themselves,  to  teach  the  eye 
correct  word  formations.  Use  the  same  sen- 
tences as  before,  which  by  now  you  should 
know  almost  by  heart,  and  practise  them  with 
the  mirror  for  each  word  in  them.  The  first 
time  you  say  the  sentence,  concentrate  all 
your  thought  and  attention  on  the  first  word. 
Try  to  see  the  word  as  a  whole,  and  not  the 
individual  sounds  and  movements.  Then 
say  the  sentence  over  again,  and  concentrate 
similarly  on  the  second  word;  then,  yet  again, 
while  you  concentrate  on  the  third  word, 
and  so  on. 

As  an  illustration,  take  the  sentence,  "My 
time  was  very  short."  The  first  time  you  read 
the  sentence,  you  concentrate  on  the  word 
**my";  then  as  you  read  it  again,  you  con- 
centrate on  "time";  the  third  time  on  "was," 
etc.     The  wJiole  sentence   should   always   be 


80  LIP-READING 

read,  and  always  rapidly  and  naturally.  The 
word  you  are  looking  for  should  not  be  em- 
phasized, for  the  value  of  the  practise  lies 
in  learning  word  formations  when  occurring 
in  their  natural  associations  with  other  words 
in  a  sentence.  For  example,  "was"  by  itself 
is  spoken  with  an  open  or  wide  formation 
for  the  vowel,  but  in  the  sentence  the  vowel 
is  practically  eliminated,  as  "My  time  w's 
very  short.'* 


CHAPTER  XI 

MIRROR    PRACTISE 

The  mirror  is  a  true  aid  in  the  study  of  lip- 
reading  if  it  be  used  in  the  right  way.  It  is 
easily  possible  to  use  the  mirror  in  such  a 
way  as  to  mear.  a  complete  waste  of  time; 
or,  what  is  worse,  so  to  use  it  as  to  do  harm. 
It  is  common  to  hear  a  student  of  lip-reading 
say,  "I  don't  get  any  good  from  my  mirror 
practise;  I  know  just  what  I  am  saying."  If 
such  as  these  only  knew  it,  that  is  exactly 
why  mirror  practise  should  prove  helpful. 

We  must  keep  in  mind  the  purpose  of  mir- 
ror practise.  Lip-reading  as  an  art  comprises 
fundamentally^  two  different  kinds  of  skill: 
(1)  the  ability  to  recognize  quickly  the  sound 
and  word  formations  as  shown  by  the  visible 
organs  of  speech,  and  (2)  the  ability  to  grasp 
the  thought  of  the  speaker.  ]\Iirror  practise 
is  not  at  all  intended  to  develop  the  second 
kind  of  skill;  it  is  obviously  impossi))le  to 
have  any  practise  in  understanding  thought 

81 


82  LIP-READING 

by  watching  our  own  mouths  in  the  mirror; 
but  as  a  means  of  training  the  eye  to  know 
and  to  recognize  cjuickly  the  sound  and  word 
formations,  mirror  practise  has  a  pecuhar 
vahie  just  because  the  student  knows  what 
he  is  saying,  for  thus  he  never  makes  a  mis- 
take; he  always  associates  the  right  movement 
with  the  right  sound.  Really  to  know  the 
movements,  they  must  be  so  learned  that 
their  recognition  becomes  a  habit;  that  is, 
something  that  the  mind  does  without  the 
consciousness  of  effort.  In  forming  such  a 
habit,  it  is  not  only  essential  that  the  desired 
association  should  be  made  over  and  over 
again,  but  also  that  there  should  be  no  false 
associations.  For  the  student  who  has  not  a 
skilled  teacher,  mirror  practise  provides  the 
best  possible  means  of  learning  the  move- 
ments of  the  visible  organs  of  speech. 

But  to  make  mirror  practise  thus  valuable  it 
must  be  done  in  the  right  way.  To  say  words 
and  sentences  before  the  mirror  and  watch 
the  mouth  for  everything  in  general  and  noth- 
ing in  particular  is  a  waste  of  time.  It  is  like 
the  hunter  who  missed  his  shot  at  a  deer  be- 
cause he  "aimed  for  the  deer"  and  not  for 
some   vital   spot.     Mirror   practise   must   be 


MIRROR  PRACTISE  83 

definite  if  it  is  to  have  value.  It  is  so  easy  to 
let  the  mind  wander,  to  make  only  vague 
associations,  that  we  might  just  as  well  not 
practise  with  the  mirror  at  all  unless  we  can 
find  a  way  to  fix  our  attention  definitely 
and  in  detail  upon  the  thing  we  are  looking 
for. 

A  still  worse  evil  than  vagueness  in  con- 
nection with  mirror  practise  arises  from  mouth- 
ing or  exaggeration  of  the  movements,  and 
sometimes  from  mistaken  pronunciation  or 
a  false  formation  of  them.  To  mouth  or 
exaggerate  is  to  give  us  wrong  ideas  of  the 
sound  and  word  formations,  which  is  not 
simply  a  waste  of  time,  but  also  tends  to  lead 
us  astray  when  reading  the  lips  of  others. 
And  this  latter  evil  is  accentuated  when  we 
try  to  see  the  sounds  by  pronouncing  the 
letters  by  themselves,  or  by  spelling  out  the 
w^ords.  For  example,  the  formation  of  g  in 
**go"  is  nothing  like  the  formation  of  the  letter 
by  itself.  Spell  the  word,  and  you  will  see 
on  your  lips  "gee-o,"  which  certainly  does  not 
look  the  same  as  "go." 

The  things  to  avoid,  then,  in  mirror  prac- 
tise are  vagueness,  which  is  a  waste  of  time, 
and  false  associations,  which  are  a  positive 


84  LIP-READING 

harm.    The  things  to  be  sought  are  definite- 
ness  and  correct  associations. 

Words  should  be  practised  for  each  move- 
ment in  them.  In  addition  to  the  movements 
already"  described  in  Chapters  YII  and  YIII, 
there  are  the  diphthongs.  See  the  lessons  on 
diphthongs,  pp.  207ff.  We  must  remember 
also  that  practically  every  word  of  two  sylla- 
bles or  more  has  at  least  one  unaccented  vowel. 
In  ordinarv  speech  these  unaccented  vov/els 
are  slighted  or  slurred,  with  the  result  some- 
times of  showing  no  movement  at  all,  as  the 
o  in  "prison,"  which  appears  as  "pris'n"; 
sometimes  of  showing  a  relaxed-medium  move- 
ment, as  the  a  in  "  sofa,"  which  appears  not 
as  "so-far,"  but  as  "so-fuh";  and  sometimes 
of  showing  the  relaxed-narrow  movement  as 
the  first  e  in  "refer,"  which  appears  not  as 
"reefer,"  but  as  "riffur."  Aways  in  watching, 
for  unaccented  vowels,  be  particularly  care- 
ful not  to  exaggerate,  but  to  speak  naturally, 
and  then  determine  for  yourself  what  the 
movement  is.  As  half  at  least  of  the  vowels 
in  ordinary  speech  are  unaccented,  it  is  im- 
portant to  get  a  correct  idea  of  how  these  un- 
accented sounds  appear  on  the  lips.  See  also 
the  lessons  on  unaccented  vowels,  pp.  234ff. 


MIRROR  PRACTISE 


85 


I  give  herewith  a  Hst  of  words  in  which  all 
of  the  movements  occur: 


boom 

left 

save 

farmer 

foot 

tap 

above 

wormy 

wall 

cube 

dollar 

moreover 

rip 

yoke 

sofa 

story 

sum 

coil 

violin 

window 

sharp 

pipe 

fearfu 

fury 

thief 

found 

wary 

poorly 

These  w^ords  should  be  studied  for  each 
movement  in  them.  To  do  so,  proceed  as 
follows:  Say  the  whole  word  while  you  watch 
your  mouth  in  the  mirror.  Do  not  spell  the 
words;  as,  for  example,  *'b-oo-m,"  but  say 
the  word,  *'boom."  Use  your  voice  softly; 
you  will  speak  more  naturally  than  if  you  use 
a  whisper  or  try  to  form  the  words  without 
sound.  The  first  time  you  say  the  word, 
concentrate  vour  attention  on  the  first  sound 
and  its  movement;  then  repeat  the  word,  and 
concentrate  on  the  second  sound  and  move^ 
ment;  and  so  repeat  the  word  for  each  move- 
ment. It  will  help  3^ou  to  concentrate  if 
before  you  say  the  word  each  time  you  think 
definitely  of  what  you  are  to  look  for.  That 
is,   think   of  the   lip   or  tongue   movements. 


86  LIP-READING 

you  ought  to  see,  and  then  say  the  word  and 
see  them.  Take,  for  example,  the  word 
*'boom."  For  the  b  the  Hps  have  the  shut 
position;  say  "boom"  and  see  that  the  hps 
are  shut  for  b.  For  the  oo  the  Hps  are  puckered 
with  the  narrow  opening;  say  the  word  again 
and  see  these  characteristics.  For  the  m  the 
hps  are  shut  once  more;  repeat  the  word  the 
third  time  and  see  that.  Each  word  should  be 
gone  over  many  times  in  this  way. 

The  method  of  sentence  practise  with  the 
mirror  is  similar  to  that  for  word  practise, 
though  not  with  exactly  the  same  purpose. 
Words  are  practised  for  the  study  of  the  in- 
dividual movements  that  make  up  the  word, 
while  sentences  are  to  be  practised  for  the 
study  of  the  word  formations  that  make  up 
the  sentence.  And  sentences  are  of  particular 
value  to  get  the  effect  of  the  unaccented 
vowels. 

Short  sentences  of  three  to  seven  words 
provide  the  best  material  for  mirror  practise, 
though  long  sentences  can  readily  be  used  if 
they  are  studied  clause  by  clause.  Take, 
for  example,  the  opening  sentence  of  Lin- 
coln's (iettysburg  Address.  This  should  be 
divided  inlo  six  clauses:  "Four  score  and  seven 


MIRROR  PRACTISE  87 

years  ago — our  fathers  brought  forth  on  this 
continent — a  new  nation — conceived  in  hb- 
erty — and  dedicated  to  the  proposition — that 
all  men  are  created  equal."  There  are  from 
three  to  seven  words  in  each  of  these  clauses. 
Such  colloquial  sentences  as  "Where  do  you 
live?"  "The  weather  is  very  warm,"  "What's 
the  matter?"  make  excellent  material,  also, 
for  this  practise. 

Whether  using  short  sentences  or  clauses 
from  long  sentences,  the  method  is  the  same. 
Pronounce  the  whole  clause  or  sentence  as 
many  times  as  there  are  words  in  it,  each  time 
you  do  so  concentrating  your  thought  on  a 
different  word,  one  word  at  a  time.  The 
first  time  you  should  concentrate  on  the  first 
word,  the  second  time  on  the  second,  and 
so  on.  But  you  should  be  particularly  care- 
ful not  to  emphasize  the  word  for  which  you 
are  looking.  In  the  clause,  "Four  score  and 
seven  years  ago,"  the  word  "and"  when 
spoken,  naturally  is  hardly  more  than  "'nd," 
the  vowel  being  so  slurred  as  to  be  almost 
lost:  thus,  "Four  score  'nd  seven  years  ago." 
To  say  "Four  score  and  seven  years  ago" 
would  therefore  be  to  give  a  false  emphasis 
to  the  word  which  it  vv^ould  not  have  in  ordi' 


88  LIP-READING 

nary  conversation.  And  the  object  of  this 
practise  of  the  words  in  sentences  is  in  very 
important  measure  to  accustom  the  eye  to 
the  natural  word  formations  of  every-day 
talk. 

Taking  this  clause,  then,  as  an  example, 
the  first  time  you  say  it  you  should  concentrate 
on  "four,"  then  repeat  and  concentrate  on 
"score,"  and  so  on.  Try  to  see  the  word 
as  a  whole,  not  the  individual  elements. 
Do  not  speak  slowly,  and  especially  do  not 
speak  word  by  word.  Undoubtedly  it  is 
easier  for  you  to  see  the  words  spoken  in  that 
way,  but  the  practise  is  at  the  same  time  robbed 
of  its  chief  value  of  training  the  eye  to  see 
rapid  word  formations  occurring  in  their 
natural  associations  with  other  words  in  a 
sentence. 

Mirror  practise  as  outlined  above  is  an 
undoubted  help  in  the  study  of  lip-reading; 
but  it  is  a  mistake  to  expect  skill  to  come 
from  such  practise  alone.  The  full,  rounded 
development  comes  from  combining  such  mir- 
ror practise  with  the  varied  forms  of  practise 
with  others.  A  liltle  mirror  practise  every 
day  is  good,  from  fifteen  minutes  to  half  an 
hour  at  a  time,  and  if  it  is  not  possible  to 


MIRROR  PRACTISE  89 

secure  an  assistant,  it  is  well  to  increase  this 
time.  But  wliere  practise  with  an  assistant 
is  possible,  and  the  best  results  cannot  be 
obtained  otherwise,  do  not  let  mirror  prac- 
tise take  so  much  time  as  to  exclude  you  from 
it. 


PART  11 


FIRST    OUTLINE    OF    DAILY   PRACTISE, 
THROUGH   SECTION   III 

What  may  be  called  a  full  cycle  of  practise 
should  consist  of  (1)  a  Review  of  the  preced- 
ing lesson,  (2)  the  study  and  practise  of  the 
Lesson  for  the  Day,  and  (3)  the  Prepara- 
tion for  the  next  lesson.  (Of  course  with  the 
first  lesson  there  will  be  no  review.) 

As  an  illustration:  Suppose  the  first  story, 
A  Lesson  in  Physiology,  (Sec.  I,  paragraph  l), 
and  the  first  movement,  the  lips-shut,  for 
p,  b,  and  m  (Sec.  Ill,  paragraphs  53-56), 
had  been  studied  and  practised.  Then  that 
story  and  the  words  and  sentences  under 
that  movement  would  be  the  Review;  the 
Lesson  for  the  Day  would  be  the  second 
story,  Good  Advice,  and  the  words  and  sen- 
tences under  the  second  movement,  the 
extended-narrow  for  long  e  (paragraphs  5  7-60), 
as  well  as  some  conversation  practise;  and 
the  Preparation  for  the  next  lesson  would  be 
on  the  third  story.  The  Bone  of  Contention,  and 
the  words  and  sentences  of  the  third  move- 

93 


94  LIP-READING 

ment,  the  extended-medium  for  short  e  (para- 
graphs 61-65). 

Enough  time  should  be  taken  for  each  part 
of  the  work  to  do  it  thoroughly.  The  exact 
time  cannot  be  prescribed,  for  what  one  per- 
son can  do  in  one  hour,  another  perhaps  can- 
not do  thoroughly  short  of  two  hours.  The 
outline  for  practise  given  below,  subject  to 
changes  which  a  teacher  may  make  accord- 
ing to  the  needs  of  the  pupil,  should  be  fol- 
lowed step  by  step  in  the  order  given,  except 
that  the  Review  and  the  Lesson  for  the 
Day  from  each  section  as  practised  with 
assistant  may  be  taken  consecutively  if  de- 
sired. It  will  probably  take  from  two  to 
three  hours  to  complete  the  program;  do  only 
one  hour  at  a  time,  taking  up  the  work  again 
later  from  the  place  left  off  until  the  whole 
program  has  been  completed. 

Outline 

A.  Review  with  assistant  (all  review  prac- 
tise should  be  rapid). 
I.  From  Section  I. 
a.   The  Story: 

1.  Told  in  different  words. 


OUTLINE  OF  DAILY  PRACTISE       95 

2.  Read  very  rapidly. 

3.  Questions  based  on  the  story. 
II.  From  Section  III. 

a.  Movement  Words: 

1.  Read  by  assistant,  and  repeated 
by  pupil,  in  groups  of  two  or  three 
as  case  may  be,  each  group  several 
times  in  different  orders. 

b.  Contrast  Words: 

1.  Read,  and  repeated,  in  groups  of 
two. 

c.  Practise  Words: 

1.  Read,  and  repeated,  one  word 
at  a  time,  but  skipping  around  and 
going  very  rapidly  from  word  to 
word. 

d.  Sentences: 

1.  Read,  skipping  around,  and  rap- 
idly from  sentence  to  sentence. 
B.  Lesson  for  the  Day 
I.  From  Section  I. 

a.  The  Story.     (For  details,  see  Chap- 
ter V) : 
1.  The    pupil    reads    story    to    self, 
preferably  some  time  beforehand. 
See  advice  under  C  below. 


96  LIP-READING 

2.  Assistant  reads  the  story  to  the 
pupil,  without  interruption. 

3.  With  interruption  for  the  thought. 

4.  With  interruption  for  every  word. 

5.  Rapidly,  with  interruption  for 
thought. 

6.  Assistant  tells  the  story  in  his 
own  words. 

7.  Assistant  asks  questions  based 
on  the  story;  pupil  replies. 

8.  Assistant  reads  story,  skipping 
around,  rapidly,  with  interruption 
for  the  thought.^ 

(If  the  pupil  is  told  to  read  ten  stories  in  advance, 
or  none  at  all,  then  the  assistant  should  first  tell  the 
storj-  in  his  own  words,  after  shomng  title  and  proper 
names,  and  follow  with  steps  3,  4,  5,  7  and  8.) 

9.  Pupil  practises  the  story  with  the 
mirror  (see  Chapter  XI). 

II.  From  Section  II. 

*a.  Conversation.  Pupil  and  assistant 
have  definite  conversation  practise 
(see  Chap,  IV).  Also  use  occasion- 
ally the  conversations  in  Section  II. 

'Conversation  should  be  given  .it  tlit-  cud  of  the  lessen  when  there 
is  time  fi>r  it,  or  where  a  pupil  has  special  lucd  i>f  such  practise. 


OUTLINE  OF  DAILY  PRACTISE       97 

III.  From  Section  III. 

a.  Assistant  shows  pupil,  ])y  the  ii- 
histrative  word,  the  characteristics 
of  the  new  movement. 

b.  Movement  Words: 

1.  Read  by  assistant,  and  repeated 
by  pupil,  in  groups  of  two  or 
three  as  indicated,  each  group 
several  times  in  different  orders. 

C.  Contrast  Words: 

1.  Read  by  assistant,  and  repeated 
by  pupil,  in  groups  of  two,  each 
group  several  times  over  in  differ- 
ent orders. 

d.  Practise  Words  (see  Chapter  IX) : 

1.  Assistant  reads;  pupil  does  not 
repeat,  but  simply  watches  for  the 
special  movement  indicated  by  the 
italic  letters. 

2.  Assistant  reads  and  pupil  repeats. 
As  each  word  is  understood,  the 
assistant  repeats  it  over  and  over 
as  many  times  as  there  are  move- 
ments in  it.  The  first  time,  the 
pupil  watches  for  the  first  move- 
ment, the  second  time  for  the 
second,  and  so  on. 


98  LIP-READING 

3.  Assistant  reads,  pupil  does  not 
repeat,  but  simply  watches  for  the 
special  movement  indicated  by  the 
italic  letters.  If  the  lesson  is 
on  a  consonant  movement,  the 
pupil  tells  whether  he  sees  the  con- 
sonant being  studied  at  the  begin- 
ning or  the  end  of  the  word.  If 
a  vowel,  the  assistant  should  oc- 
casionally substitute  another  vowel 
for  the  one  studied  and  the  pupil 
should  indicate  when  he  sees  the 
change. 

4.  Assistant  reads  and  pupil  repeats. 
As  each  word  is  understood,  the 
assistant  composes  and  gives  a 
sentence  containing  the  word. 
AVhere  homophonous  words  are 
given  (and  such  words  are  in- 
dicated by  the  small  number  fol- 
lowing them,  words  of  the  same 

r  appearance  being  followed  by  the 

same  num})er),  tlie  sentences  alone 
will  enable  the  pupil  to  tell  which 
is  which. 
4.  Assistant  reads  rtipidly,  skipping 
around;  pupil  repeats  quickly. 


OUTLINE  OF  DAILY  PRACTISE       99 

e.  Sentences  (see  Chapter  X) : 

1.  Assistant  reads.  As  each  sentence 
is  understood,  the  assistant  com- 
poses and  gives  one  or  two  more 
sentences  associated  in  thought 
with  the  original  sentence. 

2.  Assistant  reads  rapidly,  skipping 
around;  pupil  responds  quickly. 

f.  Pupil  practises  Movement  Words, 
Contrast  Words,  and  Practise  Words, 
with  the  mirror  to  see  each  move- 
ment (see  Chapter  XI). 

g.  Pupil  practises  Sentences  with  the 
mirror  to  see  each  word  (see  Chap- 
ter XI). 

C.  Preparation  for  the  Next  Lesson 
I.  From  Section  I. 
a.  The  Story: 

1.  The  pupil  reads  the  story  to  self, 
once  only,  and  does  not  practise. 
If  so  read,  the  pupil  does  not  re- 
read at  time  of  practise  with  as- 
sistant. Should  story  practise  be 
easy  for  pupil,  he  should  read  ten 
stories  ahead.  If  very  easy,  he 
should  not  read  stories  to  himself 
at  all.    Take  one  storv  for  a  lesson. 


100  LIP-READING 

n.  From  Section  III. 

a.  Pupil  studies,  with  the  mirror,  the 
advance  movement,  as  shown  in  the 
word  given  for  illustration,  to  see 
the  characteristics  described.  Take 
one  to  two  movements  for  a  lesson. 

b.  Movement  Words: 

1.  Pupil  practises  with  mirror  to  see 
only  the  new  movement  indicated 
by  the  italic  letters. 

2.  Pupil  practises,  with  mirror,  the 
words  in  groups  of  two  or  three  as 
indicated  to  observe  the  differences. 

C.  Contrast  Words: 

1.  Pupil  practises,  with  mirror,  by 
couplets  to  see  the  differences. 

d.  Practise  Words: 

1.  Pupil  practises,  with  mirror,  only 
to  see  the  new  movement  in- 
dicated by  the  italic  letters,  not 
for  the  words  themselves  nor  for 
any  of  the  other  movements. 

e.  Sentences: 

Pupil  should  not  practise  advance  sentences  in  any 
way  whatever,  and  should  endeavor  if  possible  to 
get  aloiif;  without  cvvn  fir.sl  reading;  thciii  to  him- 
self.    If  lliis  is  not  possible  at  first,  it  will  be  later. 


SECTION  I 

STORIES   FOR   PRACTISE 

Stories  are  to  be  practised  according  to  the 
directions  in  Chapter  V.  After  the  stories 
given  below  have  all  been  used,  material  for 
further  reading  practise  may  readily  be  found 
in  books.  Those  written  for  children,  fre- 
quently afford  the  best  material,  being  usually 
in  a  simple,  colloquial  style.  The  student 
may  select  books  to  suit  his  own  taste,  but 
if  any  of  the  following  are  on  hand  they  will  be 
found  excellent  for  this  kind  of  practise: 
/Esop's  Fables  (Stickncy's  edition  preferred); 
Tappan's  Old  Ballads  in  Prose;  Tappan's 
European  Hero  Stories;  Lewis  Carroll's  Alice 
in  Wonderland;  Hawthorne's  Wonder  Book  and 
Tangleivood  Tales;  James  Baldwin's  Fifty 
Famous  Stories;  Catherine  T.  Bryce's  Fables 
from  Afar;  Josephine  P.  Peabody's  Old  Greek 
Folk  Stories;  Lamb's  Tales  From  Shakespeare. 
It  is  not  intended  to  limit  the  student  to 
these  books;  they  are  given  merely  by  way 

101 


102  LIP-READING 

of  suggestion.  From  one  to  four  pages  should 
be  practised  for  a  lesson,  the  number  of  pages 
being  determined  by  the  ease  with  which  they 
are  understood  and  by  the  size  of  the  page. 

A  Lesson  in  Physiology 

1.  A  teacher  was  explaining  to  her  class 
what  an  organ  of  the  body  is.  She  told  them 
that  an  organ  of  the  body  is  a  part  of  the 
body  set  apart  for  some  special  use.  For 
example,  the  eye  is  the  organ  of  sight,  the 
ear  of  hearing,  etc. 

After  she  had  gone  over  the  work  pretty 
thoroughly,  she  wanted  to  find  out  how  much 
her  pupils  knew  of  the  subject.  So  she  asked 
them  who  could  tell  what  an  organ  of  the  body 
really  is. 

For  some  time  there  was  no  reply.  Then 
the  smallest  boy  in  the  room  hold  up  his 
hand.  "I  know,"  he  said.  "I  see  with  my 
eye  organ,  I  hear  with  my  ear  organ,  I  smell 
with  my  nose  organ,  I  eat  with  my  mouth 
organ,  and  I  feel  with  my  hand  organ." 

— Selected. 


GOOD  ADVICE  103 

Good  Advice 

2.  There  were  two  ladies  sitting  in  a  car. 
One  wished  to  have  the  window  shut,  as  slie 
said  she  took  cold  very  easily  and  was  afraid  of 
drafts.  The  other  wished  to  have  the  window 
open,  for  she  liked  fresh  air  and  must  have  it. 
Neither  lady  was  willing  to  give  in.  Finally, 
the  conductor  came  to  them. 

"Conductor,"  said  the  first  lady,  "if  this 
window  remains  open  I  may  get  a  cold.  It 
will  kill  me." 

"Conductor,"  said  the  second  lady,  "if 
you  shut  this  window  I  may  suffocate." 

The  conductor  did  not  know  what  to  do. 
A  man  who  was  sitting  in  the  corner  said  to 
the  conductor: 

"Open  the  window,  my  dear  friend.  That 
^ill  kill  one.  Then  shut  it.  That  will  kill 
the  other.     Then  we  can  have  peace." 

— Selected. 


The  Bone  of  Contention 

3.  "At  Hale's  Ford,  in  Virginia,"  said 
Booker  T.  Washington,  "I  used  to  know  in 
my  boyhood  an  old  colored  man  called  '  Uncle 
Sam.' 


104  LIP-READING 

* 'During  the  Civil  War  Uncle  Sam  took  a 
great  interest  in  the  conflict,  but  he  himself 
did  not  fight.  A  white  man  took  him  to  task 
about  this  one  day. 

"  'Look  here,  Uncle  Sam,'  he  said,  *here 
are  the  men  of  the  North  and  the  men  of  the 
South  killing  one  another  off  on  your  account. 
\Miy  don't  you  pitch  in  and  join  them?' 

"  'Mali  friend,'  he  said,  'has  you  ever  seen 
two  dogs  fighting  over  a  bone?' 

"  'Of  course  I  have,'  said  the  white  man. 

'"Did  you  ever  see  the  bone  fight?'  said 
Uncle  Sam. 

— Selected, 


Needless  Alarm 

4.  Anyone  who  has  traveled  on  the  New 
York  subway  in  rush  hours  can  easily  appre- 
ciate the  following: 

A  little  man,  wedged  into  the  middle  of  a 
car,  suddenly  thought  of  pickpockets,  and 
quite  as  suddenly  remembered  that  he  had 
some  money  in  his  overcoat.  He  plunged 
his  lumd  into  his  pocket  and  was  somewhat 
shocked  up(m  encountering  the  fist  of  a  fat 
f  el  k)'.v -passenger. 


A  SWORD  PUZZLE  105 

"Aha!"  snorted  the  latter.  "I  caught 
you  that  time!" 

"Leggo!"  snarled  the  little  man.  "Leggo 
my  hand!" 

"Pickpocket!"  hissed  the  fat  passenger. 

"Scoundrel!"  retorted  the  little  one. 

Just  then  a  tall  man  in  their  vicinity 
glanced  up  from  his  paper. 

"I'd  like  to  get  off  here,"  he  drawled, 
"if  you  fellows  don't  mind  taking  your 
hands  out  of  my  pocket." 

— Selected. 


A  Sword  Puzzle 

5.  The  Cross  of  the  Legion  of  Honor  was 
highly  prized  in  the  time  of  the  first  Napoleon. 
The  Emperor  one  day  met  an  old  one-armed 
soldier,  and  asked  him  where  he  had  lost  his 
arm.  "Sire,  at  Austerlitz."  "And  were  you 
not  decorated.^"  "No,  sire."  "Then  here 
is  my  cross  for  you;  I  make  you  chevalier." 
"Your  JNIajest}"  names  me  chevalier  because 
I  have  lost  one  arm!  What  would  your 
Majesty  have  done  if  I  had  lost  both?"  "Oh, 
in  that  case,  I  should  have  made  vou  officer 
of  the  Legion."     Whereupon  the  soldier  im- 


106  LIP-READING 

mediately   drew  his   sword   and  cut   off  his 
other  arm. 

Now,  there  is  no  particular  reason  to  doubt 
this  story.  The  only  question  is,  how  did 
he  do  it?  — Selected. 

Not  Far  to  Go 

6.  A  distinguished  lawyer  and  politician 
was  traveling  on  the  train  when  an  Irish 
woman  came  into  the  car  with  a  big  basket 
and  bundle,  and  sat  down  near  him. 

When  the  conductor  came  around  to  col- 
lect fares,  the  woman  paid  her  money,  and 
the  conductor  passed  by  the  lawyer  without 
collecting  anything.  The  good  woman  there- 
upon said  to  the  lawyer: 

"An'  faith,  an'  why  is  it  that  the  conductor 
takes  the  money  of  a  poor  Irish  woman  an' 
don't  ask  ye,  who  seem  to  be  a  rich  man,  for 
anything?" 

"My  dear  madam,"  replied  the  lawyer, 
who  had  a  pass,  "I  am  traveling  on  my 
beauty." 

For  a  moment  the  woman  looked  at  him, 
and  then  quickly  answered: 

"An'  is  that  so?  Then  ye  must  be  very 
near  yer  journey's   end."  — Selected. 


HE  TOLD  THE  TRUTH  107 

He  Told  the  Truth 

■J.  The  country  school-teacher  had  been  tell- 
ing her  pupils  about  the  seasons  and  their  pe- 
culiarities, and  to  impress  their  minds  with  the 
facts,  she  questioned  them  upon  the  points  she 
had  given. 

Several  questions  had  been  put  and  an- 
swered, and  she  finally  reached  the  stupid  boy 
in  the  corner. 

"Well,  Johnny,"  she  said,  "have  you  been 
paying  attention?" 

"Yes'm,"  he  answered  promptly. 

"I'm  glad  to  hear  it.  Now,  can  you  tell 
me  what  there  is  in  the  spring.^" 

"Yes'm,  I  can,  but  I  don't  want  to." 

"Oh,  yes,  you  do,  Don't  be  afraid.  You 
have  heard  the  other  pupils.  Be  a  good  boy 
now,  and  tell  us  what  there  is  in  the  spring." 

'*Wy — wy — mum,  there's  a  frog  an'  a 
lizard  an'  a  dead  cat  in  it,  but  I  didn't  put  'em 
there.  It  was  another  boy,  for  I  saw  him  do 
it. "  — Selected, 


108  LIP-READING 

Franklin's  Toast 

8.  Once  in  London  Benjamin  Franklin  was 
dining  with  two  friends,  one  of  whom  was 
an  Englishman  and  the  other  a  Frenchman. 
As  three  nationalities  were  represented,  it  was 
suggested  that  each  of  the  men  propose  a 
toast  to  his  own  country.  The  Englishman 
rose  first,  and  like  a  true  John  Bull  exclaimed : 

"Here's  to  England,  the  sun  that  gives 
light  to  all  the  nations  of  the  earth." 

The  Frenchman  responded  proudly  in  sim- 
ilar vein: 

"Here's  to  France,  the  moon  whose  magic 
rays  move  the  tides  of  the  world!" 

Then  Franklin  rose,  and  with  an  air  of 
quaint  modesty  remarked: 

"Here's  to  George  Washington,  the  Joshua 
of  America  who  commanded  the  sun  and  the 
moon  to  stand  still — and  they  stood  still." 

— Selected. 


He  Did  Not  Bite 

9.  Two  English  boys,  who  were  friends  of 
Charles  Darwin,  thought  one  day  that  they 


GOOD   FOR  HIM,  ANYHOW!        109 

would  play  a  joke  on  him.  They  caught  a 
butterfly,  a  grasshopper,  a  beetle  and  a 
centipede,  and  out  of  these  creatures  they 
made  a  strange  composite  insect.  They  took 
the  centipede's  body,  the  butterfly's  wings, 
the  grasshopper's  legs  and  the  beetle's  head, 
and  they  glued  them  together  carefully.  Then, 
with  their  new  bug  in  a  box,  they  knocked  at 
Darwin's  door. 

"We  caught  this  bug  in  a  field,"  they  said. 
"Can  you  tell  us  what  kind  of  a  bug  it  is, 
sir?" 

Darwin  looked  at  the  bug  and  then  he 
looked  at  the  boys.     He  smiled  slightly. 

"Did  it  hum  when  you  caught  it.^^"  he 
asked. 

"Yes,"  they  answered,  nudging  each  other. 
'Then,"  said  Darwin,  "it  is  a  humbug." 

— Selected. 


6il 


Good  for  Him,  Anyhow! 

10.  "I've  spanked  Thomas  until  I  can  spank 
him  no  more!"  exclaimed  Miss  Hardcastle, 
the  geographical  mistress,  to  Miss  Manners, 
the  mathematical  mistress.     "Reallv,  mv  arm 


110  LIP-READING 

quite  aches  from  the  daily  chastisement  of 
that  naughty  boy." 

"When  you  want  him  spanked  again,  send 
him  to  me,  then,"  said  Miss  Manners.  And, 
sure  enough,  at  eleven  o'clock  next  morning 
Thomas  appeared  at  the  door  of  the  mathe- 
matical mistress's  class-room. 

''Where  have  you  come  from?"  asked  Miss 
Manners. 

"Miss  Hardcastle,"  confessed  Thomas. 

"I  thought  so!"  exclaimed  the  teacher; 
and,  dropping  her  book,  she  adroitly  inverted 
the  youngster  with  a  twist,  and  punished  him 
till  the  room  rang  with  shrieks  and  whacks. 

"Now,  Thomas,"  said  Miss  Manners,  when 
she  had  concluded  her  duty,  "what  have  you 
to  say?" 

"Please,  miss,"  blubbered  the  feeling  schol- 
ar,  "Miss   Hardcastle   wants   the   scissors!" 

— Selected. 


Uncle  Ned's  Old  Aunt 

11.  Down  South  there  was  an  old  colored 
man  called  T^ncle  Ned.  He  had  worked  for 
the  same  family  for  a  great  many  years,  ever 


HER  VIEW  OF  ART  111 

since  the  war  in  fact.  At  last  one  day  he  went 
to  his  master  and  said,  "Master,  I'd  Hke  to 
have  a  vacation."  "What,  Uncle  Ned,"  said 
his  master,  "you  want  a  vacation?  What  do 
you  want  a  vacation  for?"  "Why,"  said 
Uncle  Ned,  "I  want  to  go  up  to  Virginia." 
"Up  to  Virginia!  What  do  you  want  to  go 
up  to  Virginia  for.  Uncle  Ned?"  "Well,  I 
reckon  I  want  to  see  my  old  aunt."  "Your 
old  aunt !  I  didn't  know  you  had  an  old  aunt 
up  in  Virginia."  "Yes,  sah."  "And  how  old 
is  she?"  "Well,  I  reckon  she  is  110  years 
old."  "One  hundred  and  ten  years  old! 
You  have  an  aunt  up  in  Virginia  as  old  as 
that?"  "Yes,  sah."  "And  what  is  your 
old  aunt  doing  up  in  Virginia?"  "W'hy,  I 
reckon  she  must  be  living  with  her  grand- 
mother." 

— Selected. 


Her  View  of  Art 

12.  An  old  gentleman  who  lived  not  far 
from  the  country  seat  of  the  Duke  of  Devon- 
shire (which  is  open  to  the  public  when  the 
duke  is  not  there)  one  day  drove  with  a  party 


112  LIP-READING 

of  friends  to  this  famous  residence.  He  took 
also  his  housekeeper,  Martha,  a  good  old  soul, 
who  had  been  with  him  a  great  many  years. 
Arriving  at  Chatsworth,  they  passed  slowly 
through  room  after  room  of  almost  priceless 
pictures.  But  Martha  said  never  a  word, 
although  it  was  evident  that  she  was  not  miss- 
ing anything.  Each  and  every  picture  un- 
derwent a  most  rigid  scrutiny,  much  to  the 
amusement  of  the  rest  of  the  party. 

At  last  her  master  turned  to  her  and  said: 
Well,  Martha,  what  do  you  think  of  it  all.'^" 
Why,"  exploded  INIartha  rapturously,  "I 
can't  see  a  speck  o'  dust  anywhere!" 

— Lippiticotfs, 


An  Absent-minded  Philosopher 

13.  One  evening  in  cold  mid-winter,  Sir 
Isaac  Newton  instinctively  drew  his  chair 
very  close  to  the  grate  in  which  a  fire  had  just 
been  lighted.  By  degrees  the  fire  became  com- 
pletely kindled,  and  Sir  Isaac  felt  the  heat 
intolera])le,  and  rang  his  \)v\\  with  unusual 
violence.     John   was   not   at   hand.     At   last 


PLEASE   CALL  HER  113 

he  appeared,  but  by  that  time  Sir  Isaac  was 
ahnost  roasted.  "Remove  the  grate,  you 
lazy  rascal!"  exclaimed  Sir  Isaac,  in  a  tone  of 
irritation  very  uncommon  with  that  amiable 
and  placid  philosopher.  "Remove  the  grate 
before  I'm  burned  to  death!"  "Please,  your 
honor,  might  you  not  rather  draw  l)ack  your 
chair .^"  said  John,  a  little  waggishly.  "Upon 
my  word,"  said  Sir  Isaac,  smiling,  "I  never 
thought  of  that." 

— Selected. 


Please  Call  Her 

14.  A  dignified,  middle-aged  gentleman  was 
trying  to  read  in  a  crowded  train.  Among  the 
passengers  in  the  car  was  a  lady  with  a  very 
sprightly  little  blue-eyed  girl  with  golden  hair 
and  an  inquisitive  tongue,  who  made  friends 
with  everyone  around  her.  She  asked  the 
dignified  gentleman  numerous  questions, 
played  with  his  watch  chain,  and  endeavored 
to  determine  by  means  of  the  buttons  on  his 
waistcoat  whether  he  was  rich  man,  poor  man, 
beggar  man,  or  thief. 


114  LIP-READING 

The  mother  fairlj^  beamed  upon  him,  as  she 
was  the  type  of  woman  who  cannot  understand 
that  anyone  might  be  annoyed  by  her  child. 
However,  he  was  becoming  nervous,  and 
rather  tired  of  the  interruptions,  and,  turning 
to  the  lady,  said: 

"Madam,  what  do  you  call  this  sweet  little 
child?" 

"Ethel,"  replied  the  mother  with  a  smile 
and  evident  pride. 

"Please  call  her,  then,"  said  the  gentleman, 
as  he  resumed  his  reading. 

— Selected. 


Guess  Who  Sent  Them 

15.  George  and  Ethel  had  been  married 
only  a  short  time.  They  had  had  a  large 
wedding,  and  Iiad  received  a  great  many 
handsome  presents,  including  the  usual  silver- 
ware and  jewelry.  Because  of  the  prominence 
of  the  bride's  family,  tlic  newsj^apers  had 
commented  on  the  number  and  value  of  the 
many  gifts. 

When  they  retm-ned  from  their  honeymoon 
they  went  to  live  in  a  pretty  little  cottage  in 


PUDDIN'PIEAD   WILSON  115 

the  suburbs.  A  few  days  after  they  had  set- 
tled in  their  new  home  they  received  in  the 
mail  one  morning  two  tickets  for  the  evening 
performance  at  a  city  theatre,  together  with  a 
note  which  read:  "Guess  who  sent  them?" 
They  found  it  impossible  to  identify  the 
handwriting,  or  to  guess  the  donor,  but  never- 
theless they  decided  to  use  them  and  have  a 
good  time. 

When  they  reached  home  after  a  very  en- 
joyable evening,  and  switched  on  the  lights, 
they  found  the  place  stripped  of  jewelry  and 
silverware.  But  on  the  dining  room  table 
was  another  note  in  the  same  handwriting, 
which  read:  "Now  you  know!" 

— Selected. 


Puddin'head  Wilson 

16.  Mutual  friends  of  President  Wilson  and 
Colonel  George  Harvey  say  that  it  is  as  good 
as  a  play  to  watch  the  flashes  of  wit  that 
spring  from  a  crossing  of  those  two  keenest 
of  minds.  One  time  when  Colonel  Harvey 
was  lunching  at  the  White  House,  ^lark 
Twain's  name  came  up  in  some  connection. 
The   Colonel    remarked   casuallv    that    there 


116  LIP-READING 

still  live  persons  who  have  never  heard  of  the 
great  humorist.  The  President  found  this 
almost  incredible. 

"Oh,  yes,"  the  Colonel  continued,  "only 
yesterday,  here  in  Washington,  I  met  such  a 
one.  He  was  an  office  seeker.  He  declared 
positively  he  had  never  heard  of  Mark  Twain. 
I  asked  him  about  Tom  Sawyer — No,  he'd 
never  heard  of  him  either.  Nor  Huck  Finn? 
No,  never.  Nor  Puddin'head  Wilson?  'Oh, 
Lord,  yes,'  he  ejaculated,  'I  voted  for  him.'" 
When  the  President's  roars  of  laughter  had 
subsided  Colonel  Harvey  continued,  "  'And,' 
added  the  office  seeker,  wistfully,  'that's  all 
the  good  it  done  me. '  " 

— Selected. 


Willing  to  Repeat 

17.  The  office  l)oy  to  a  large  firm  of  pub- 
lishers, when  sent  to  one  of  the  operative 
departments  with  a  message,  noticed  that 
something  was  wrong  with  the  machinery. 
He  gave  the  alarm,  and  thus  preventt'd  much 
damage.  The  circumstance  was  reported   to 


DRESDEN  GOOD  NATURE    117 

the  head  of  the  firm,  before  whom  John  was 
summoned. 

"You  have  done  me  a  great  service,  my 
boy,"  he  said.  "In  future  your  wages  will 
be  increased  $1  weekly." 

"Thank  you,  sir,"  said  the  bright  little 
fellow.  "I'll  do  my  best  to  be  worth  it,  and 
to  be  a  good  servant  to  you." 

The  reply  struck  the  chief  almost  as  much 
as  the  lad's  previous  service  had  done. 

"That's  the  right  spirit,"  he  said.  "In  all 
the  years  I  have  been  in  business  no  one  has 
ever  thanked  me  in  that  way.  I  will  make  the 
increase  $2.     Now,  what  do  you  say  to  that?" 

"Well,  sir,"  said  the  boy,  after  a  moment's 
hesitation,    "would    you    mind   if   I   said   it 

— Philadelphia  Public  Ledger. 


Dresden  Good  Nature 

18.  A  stranger  was  one  day  crossing  the 
great  bridge  that  spans  the  Elbe,  at  Dresden, 
and  asked  a  native  to  direct  him  to  a  certain 
church  w^hich  he  wished  to  find. 

"Really,  my  dear  sir,"  said  the  Dresdener, 


118  LIP-READING 

bowing  low,  *'I  grieve  greatly  to  say  it,  but  I 
cannot  tell  you." 

The  stranger  passed  on,  somewhat  surprised 
at  this  voluble  answer  to  his  simple  question. 
He  had  gone  but  a  short  distance  when  he 
heard  hurried  footsteps  behind  him,  and  turn- 
ing round,  saw  the  same  man  running  to  catch 
up  with  him. 

In  a  moment  his  pursuer  w^as  by  his  side, 
his  breath  almost  gone,  but  enough  left  to 
pant  out,  hurriedly:  "My  dear  sir,  you  asked 
me  how  you  could  find  the  church,  and  it 
grieved  me  to  have  to  say  I  did  not  know. 
Just  now  I  met  my  brother,  but  I'm  sorry  to 
say  that  he  did  not  know  either." 

— Selected. 


The  Hare  and  the  Tortoise 

19.  A  Hare  one  day  made  himself  merry 
over  the  slow  pace  of  the  Tortoise,  and  vainly 
boasted  of  his  own  great  speed  in  running. 

The  Tortoise  took  the  laugh  in  good  part, 
"Let  us  try  a  race,"  she  said;  *'I  will  run  with 
vou  five  miles  for  five  dollars,  and  the  Fox 
out  yon(l(>r  shall  be  the  judge." 


THE  FORTUNES  OF  WAR  119 

The  Hare  agreed,  and  away  they  started 
together. 

The  Tortoise  never  for  a  moment  stopped, 
but  jogged  along  with  a  slow,  steady  pace, 
straight  to  the  end  of  the  course.  But  the 
Hare,  full  of  sport,  first  outran  the  Tortoise, 
then  fell  behind;  having  come  midway  to  the 
goal,  he  began  to  nibble  at  the  young  herbage, 
and  to  amuse  himself  in  many  ways.  After 
a  while,  the  day  being  warm,  he  lay  down  for 
a  nap,  saying,  "If  she  should  go  by,  I  can  easily 
enough  catch  up." 

When  he  awoke,  the  Tortoise  was  not  in 
sight;  and,  running  as  fast  as  he  could,  he 
found  her  comfortably  dozing  at  their  goal, 
p^ter  her  success  was  gained. 

— From  Stickney''s  edition  of  ^'JEsop's 
Fables,"  by  courtesy  of  Messrs.  Ginn  and 
Company. 


The  Fortunes  of  War 

20.  A  woman  of  social  prominence,  who 
lived  near  one  of  the  big  training  camps, 
liked  to  entertain  the  soldiers  in  her  home. 
She  always  had  one  or  more  commissioned 
officers  to  dinner  each  Sundav-     Anion"-  them 


120  LIP-READING 

was  a  young  Lieutenant  to  whom  she  took  an 
especial  fancy,  and  he  was  invited  to  dine 
with  her  more  often  than  the  other  men. 

One  Sunday,  when  she  was  expecting  this 
young  officer  for  dinner,  he  found  at  the  last 
moment  that  he  could  not  get  off  duty,  and 
he  sent  as  a  substitute  a  private,  who  carried 
a  note  from  the  Lieutenant,  explaining  his 
inability  to  get  away,  and  sajdng  that  he  was 
sending  a  friend  in  his  place. 

The  private  presented  the  note  to  his 
hostess,  who  showed  very  plainly  that  she  was 
not  pleased  with  the  substitute,  and  the  atmos- 
phere was  so  uncomfortable  that  the  private 
had  the  good  sense  not  to  remain  for  dinner. 

The  next  time  the  Lieutenant  dined  with  this 
lady  she  took  him  to  task  for  v/hat  he  had  done. 
"Why  did  you  send  a  private?"  shedemanded. 
"I  wanted  an  officer."  The  Lieutenant  re- 
plied, much  to  the  chagrin  of  his  hostess:  *'I 
am  sorry  you  did  not  like  my  friend.  He  is 
a  fine  fellow.  Before  the  war  I  was  his 
chauffeur."  — Selected. 

Hope  Deferred 
21,  They  sat  each  at  an  extreme  end  of  the 
horse-hair  sofa.     Thev  had  been  courting  now 


HOPE   DEFERRED  121 

for  something  like  two  years,  but  the  wide 
gap  between  had  always  been  respectfully 
preserved. 

*'A  penny  for  your  thoughts,  Sandy," 
murmured  Maggie,  after  a  silence  of  an  hour 
and  a  half. 

"Well,"  replied  Sandy  slowly,  with  sur- 
prising boldness,  "to  tell  you  the  truth,  I 
was  just  thinking  how^  fine  it  would  be  if  you 
were  to  give  me  a  bit  of  a  kiss. " 

"I've  no  objection,"  simpered  Maggie, 
moving  over;  and  she  kissed  him  plump ly 
on  the  tip  of  his  left  ear. 

Sandy  relapsed  into  a  brown  study  once 
more,  and  the  clock  ticked  twenty-seven 
minutes. 

"And  what  are  you  thinking  about  now — 
another,  eh.''" 

"No,  no;  it's  more  serious  now." 

"Is  it.''"  asked  Maggie  softly.  Her  heart 
was  going  pit-a-pat  with  expectation.  "And 
what  might  it  be.''" 

"I   was   just   thinking,"   answered   Sandy, 

"that  it  was  about  time  you  were  paying  me 

that  penny." 

— Ladies'  Home  Journal. 


122  LIP-READING 

"Father  Won't  Like  it" 

33.  It  was  noon  time  of  a  verygwarm  day  In 
August.  A  man  walking  home  to  dinner  saw 
a  small  boy  doing  his  best  to  pile  a  load  of 
hay  back  on  the  cart  from  which  it  had  fallen. 
The  sun  was  beating  down  on  the  uncovered 
head  of  the  poor  little  fellow,  and  his  face 
was  red  from  the  heat  and  exertion. 

"You  can't  get  that  hay  on  there  alone," 
said  the  man.  "Come  home  to  dinner  with 
me,  and  afterwards  I  will  help  you." 

"Thank  3^ou,"  said  the  boy,  "but  I  can't 
do  it.     My  father  won't  like  it." 

"Oh  come  along,"  said  the  man.  "You 
can  work  much  better  after  you  have  had 
something  to  eat." 

"No,"  said  the  boy  very  firmly.  "My 
father  will  be  angry  if  I  do." 

"I  know  that  your  father  wouldn't  want 
you  to  work  in  this  heat  on  an  empty  stom- 
ach.    Come  along  and  have  a  good  meal." 

So  the  boy  went  very  reluctantly,  and  all 
through  the  meal  and  after  he  was  saying 
that  he  knew  his  father  wouldn't  like  it. 
Finally  the  man  said:  "Well,  where  is  your 
father?"  And  the  boy  replied,  "lie  is  under 
the  load  of  hay."  — Selected. 


DUST  ON  THE  ATLANTIC  123 

Dust  on  the  Atlantic 

23.  When  Mr.  Knox  was  Secretary  of  State 
he  had  a  colored  messenger  in  his  office  who 
knew  something  of  geography. 

Alongside  of  the  Secretary's  desk  is  a  gi*eat 
globe,  standing  almost  six  feet  high.  The 
other  day  JNIr.  Knox  consulted  it  to  see  if  it 
were  really  true  that  the  sun  never  sets  on  our 
dominions  nowadays,  or  to  learn  something 
else  of  equal  importance.  The  Pennsylvania 
statesman  is  the  pink  of  neatness,  and  was 
somewhat  irritated  to  find  that  the  big  revolv- 
ing ball  had  soiled  his  coat  sleeve. 

"William,"  he  said  sharply  to  the  mes- 
senger, and  laying  his  finger  on  the  globe, 
"there  is  dust  there  a  foot  thick." 

"It's  thicker'n  that,  ]\Ir.  Secretary,"  re- 
plied the  negro  with  the  familiarity  that  comes 
of  mingling  with  greatness. 

"What  do  vou  mean?"  demanded  the 
premier. 

"Why,  you'se  got  your  finger  on  the  desert 
of  Sahara." 

JNIr.  Knox  did  badly  at  trying  to  suppress  a 
smile. 


124  LIP-READING 

"You'll  find  some  on  the  Atlantic  Ocean, 
too,"  he  remarked  as  he  turned  to  his  desk. 
— Crist,  in  the  Brooklyn  Daily  Eagle. 

Mark  Twain  and  Whistler 

24.  A  friend  of  Mark  Twain's  tells  an  amus- 
ing incident  in  connection  with  the  first  meet- 
ing between  the  humorist  and  James  McNeill 
Whistler,  the  artist. 

The  friend  had  warned  Clemens  that  the 
painter  was  a  confirmed  joker,  and  Mark 
had  solemnly  replied  that  he  would  get  the 
better  of  Whistler  should  the  latter  attempt 
"any  funny  business."  Furthermore,  Twain 
determined  to  anticipate  Whistler  if  possible. 
I  The  two  were  introduced  in  Whistler's 
studio;  and  Clemens,  assuming  an  air  of  hope- 
less stupidity,  approached  a  just  completed 
painting  and  said : 

"Not  at  all  bad,  Mr.  Whistler,  not  at  all 
bad;  only,"  he  added,  with  a  motion  as  if  to 
rub  out  a  cloud  effect,  "if  I  were  you,  I'd  do 
away  with  that  cloud." 

"Great  heavens,  sir!"  exclaimed  Whistler, 
almost  beside  himself.  "Do  be  careful  not  to 
touch  that;  the  paint  is  not  yet  dry." 


MR.  CHOATE  WAS  OBLIGING         125 

"Oh,  I  don't  mind  that,"  responded  Twain 
with  an  air  of  perfect  nonchalance;  "you  see 
I'm  wearing  gloves." 

— Selected. 


INIr.  Choate  was  Obliging 

25.  The  custom  for  men  servants  to  wear 
evening  dress  has  its  embarrassments.  When 
Mr.  Choate  was  our  ambassador  to  the  Court 
of  St.  James,  he  was  one  evening  attending 
a  function  at  which  many  other  diplomats 
were  present.  They  of  course  wore  full  regi- 
mentals, while  Mr.  Choate  wore  the  simple 
evening  dress  of  the  American  gentleman. 
At  a  late  hour  he  was  standing  by  the  door, 
when  a  foreign  diplomat  approached,  and 
mistaking  him  for  a  servant,  said  to  him : 

"Call  me  a  cab." 

"You're  a  cab,  sir,"  readily  responded  Mr. 
Choate. 

The  diplomat,  in  a  high  state  of  indignation, 
sought  the  host  and  complained  that  one  of 
the  servants  had  insulted  him,  and  pointed 
out  the  offender. 

"Why,"  said  the  host,  "that's  Ambassador 
Choate.    Come,  let  me  introduce  you." 


126  LIP-READING 

The  diplomat  was  greatly  chagrined,  and 
on  presentation  made  his  apologies  to  the 
American  ambassador. 

"Oh,  that's  all  right,"  said  Mr.  Choate. 
"But  if  you  had  only  been  better  looking,  I'd 
have  called  you  a  hansom  cab." 

— Selected. 

A  Touching  ^Message 
26.  The  following  story  is  told  of  ]Mr. 
George  Broadhurst,  the  playwright,  who  is  an 
Englishman.  After  having  lived  a  week  at 
one  of  the  large  hotels  in  London,  when  on  a 
visit  to  his  native  country,  he  was  surprised 
on  the  evening  of  his  departure,  although  at 
a  very  late  hour,  to  see  an  endless  procession 
of  waiters,  maids,  porters  and  pages  come 
forward  with  the  expectant  smile  and  empty 
hand.  When  each  and  all  had  been  generously 
tipped,  he  dashed  for  the  four-wheeler  that 
was  to  carry  him  away. 

Settling  himself  with  a  sigh  of  relief,  he 
was  a])()ut  to  be  off,  when  a  page  popped  his 
head  into  the  window  and  breatlilessly  ex- 
claimed : 

"I  beg  pardon,  sir,  but  the  niglit-lift  man 


THE  DISCIPLINARIAN  127 

says  he's  waiting  for   a  message   from  you, 


55 

sir. 


"A  message  from  me?" 

"Yes,  sir;  he  says  he  cawn't  go  to  sleep  with- 
out a  message  from  you,  sir." 

"Really,  he  can't  go  to  sleep  without  a 
message  from  me?" 

"No,  sir." 

"How  touching.  Then  tell  him,  'Pleasant 
dreams.'  "  — Saturday  Evening  Post. 

The  Disciplinarian 

27.  There  is  in  our  navy  a  certain  rear  ad- 
miral, grave,  serious-minded,  conscientious, 
who  is  an  excellent  disciplinarian. 

In  his  younger  days  he  was  greatly  distressed 
by  the  carelessness  of  his  charming  wife.  She 
had  pinned  her  silk  petticoat  in  the  back  un- 
til there  was  a  great  frayed  place  at  the  band. 
She  continued  to  wear  the  petticoat,  however, 
although  her  efforts  to  keep  on  pinning  it  at 
the  frayed  place  always  evoked  a  little  storm 
of  irritation  and  temper. 

In  vain  her  husband  urged  her  to  mend  it. 
Finally  he  decided  that  the  only  way  to  re- 
form his  wife  was  to  fill  her  with  remorse. 


128  LIP-READING 

So  this  future  commander  of  battleships  with 
his  own  hands  ripped  off  the  old  frayed  band 
and  sewed  on  a  new  one.  Then  he  took  it  to 
his  wife.  She  was  greatly  moved,  thanked 
him,  kissed  him,  and  left  the  room. 

Presently  she  came  back,  her  arms  laden 
with  garments. 

"Here  are  a  few  more  for  you,  dearest,"  she 
said.  "But  please  don't  hurry  about  them. 
Just  fix  them  whenever  you  have  time." 

And  she  put  seven  petticoats  on  the  chair 
beside  him.  — Youth's  Companion. 

Ready  for  the  Summer  Boarder 

28.  The  dignified  president  of  a  well-known 
and  flourishing  New  England  college  tells 
the  following  story  at  his  own  expense : 

One  summer  some  years  ago  he  spent  a 
vacation  of  several  weeks  at  a  farmhouse  in  a 
Maine  town.  The  next  season  he  received  a 
letter  from  his  former  boarding  mistress  in- 
quiring if  he  would  like  to  return. 

In  reply  he  stated  that  he  would  be  very 
glad  to  pass  another  summer  vacation  with 
her,  provided  some  needed  changes  were 
made  about  the  place. 


AMERICAX  HUMOR  129 

"First,"  wrote  the  college  president,  "your 
maid  JNIary  is  persona  non  grata,  being  any- 
thing but  neat  and  orderly  in  her  ways,  and 
if  she  is  still  with  you  I  trust  you  will  at  least 
not  allow  her  to  wait  on  the  table. 

"Secondly,  I  would  suggest  that  the  sani- 
tary conditions  on  your  place  would  be 
greatly  improved  if  the  pigsty  were  moved 
back  a  few  rods  further  from  the  house  or 
done  away  with  altogether. 

"I  will  wait  until  I  hear  from  you  before 
deciding  about  coming." 

The  somewhat  particular  college  president 
was  reassured  by  the  receipt  of  the  following 
reply: 

"INIary  has  went.  We  ain't  had  no  hogs 
on  the  place  since  you  was  here  last  summer. 
Be  sure  and  come."  — Judge. 

American  Humor 

29.  How  a  piece  of  American  humor  was 
"managed"  is  told  by  the  Rev.  Dr.  Hillis 
of  Brooklyn.  He,  with  many  other  American 
scholars,  attended  an  educational  conference 
at  Edinburgh,  and  sat  at  dinner  beside  a  Scotch 
professor. 


130  LIP-READING 

"I  have  had  some  correspondence  with 
Professor  B.,  of  Chicago,"  began  the  Scotch- 
man. "Is  there  any  possibihty  of  your  know- 
ing him?" 

"Very  well,"  was  the  cordial  reply,  "and 
he  happens  to  be  sitting  at  the  next  table, 
the  third  from  the  end." 

"Indeed!"  replied  the  astonished  Scotch- 
man, "I  have  also  some  letters  from  Pro- 
fessor O.,  of  the  University  of  Michigan. 
Probably  you  know  nothing  of  him." 

"On  the  contrary,  I  know  him  very  well. 
There  he  sits  near  the  corner  of  the  room; 
the  man  with  whiskers  and  gold  spectacles." 

This  was  too  much  of  a  coincidence  for  the 
nettled  metaphysician,  who  regarded  it  merely 
as  American  humor;  but  he  went  on  stiffly: 

"Well,  sir,  I  have  had  relations  with  an- 
other American,  a  minister  near  New  York, 
one  Dr.  Plillis " 

"Oh,"  laughed  back  the  other,  tapping 
himself  on  the  breast,  "I  am  he." 

Witli  a  snort  of  indignation  the  Scotchman 
fled  the  room.  As  tlic  New  York  TrU)une 
exphiins,  "American  humor  had  been  carried 
too  far." 


DIVISION  OF  LABOR  131 

Division  of  Labor 

30.  "Got  any  work  this  mornin',  INIistah 
Boyd?"  asked  old  Billy  Bulger,  safe  in  the 
knowledge  that  no  work  would  be  entrusted 
to  him. 

"No,"  was  the  response;  and  then,  before 
Billy  could  ask  for  the  customary  contri- 
bution: "But  wait  a  minute.  Lawyer  Phil- 
lips has  owed  me  twenty  dollars  for  twenty 
years.  Collect  it  and  I'll  give  you  half." 
And  the  merchant,  knowing  how  bad  was  the 
debt,  winked  at  a  waiting  customer. 

The  old  man  found  the  lawyer  in  the  mid- 
dle of  a  group  of  prospective  clients  and  in- 
fluential citizens.  Thrusting  through  the 
group,  he  called  in  stentorian  tones: 

"Mistah  Phillips,  suh!" 

"Well?"  queried  the  lawj^er,  much  annoyed. 

"INIistah  Boyd  done  tell  me  that  you've 
owed  him  twenty  dollars  for  about  a  hundred 
years;  and  he  wants  to  know  can  you  pay 
him,  suh." 

The  lawyer  hurried  to  Billy's  side. 

"You  idiot,"  he  said,  "do  you  want  to  ruin 
my  business?  Here!"  and  he  thrust  a  ten- 
dollar  bill  into  the  old  man's  hand. 


132  LIP-READING 

"Well,  Billy,"  said  the  merchant,  "did  you 
get  it?" 

The  old  man  grinned. 

"I  got  my  half  all  right,"  he  chuckled; 
"but  you'd  better  look  out  when  you  go  back 
to  get  your  half — he's  right  smart  hot  over  it, 
suh!" 

— Success. 

Why  the  Stove  was  Elevated 

3 1 .  Two  professors  were  one  time  the  guests 
of  a  college  chum  at  a  hunting  camp  in  the 
woods.  When  they  entered  the  camp  their 
attention  was  attracted  to  the  unusual  posi- 
tion of  the  stove,  which  was  set  on  posts  about 
four  feet  high. 

One  of  the  professors  began  to  comment 
on  the  knowledge  woodsmen  gain  by  ob- 
servation. "Now,"  said  he,  "this  man  dis- 
covered that  the  heat  radiating  from  the  stove 
strikes  the  roof,  and  the  circulation  is  so 
quickened  that  the  camp  is  warmed  in  much 
less  time  than  would  be  required  if  the  stove 
were  in  its  regular  place  on  the  floor." 

The  other  professor  was  of  the  opinion  tliat 
the  stove  was  elevated  to  be  above  the  win- 


MISER  BROWN  133 

dow  in  order  that  cool  and  pure  air  could  be 
had  at  night. 

The  host,  being  more  practical,  contended 
that  the  stove  was  elevated  in  order  that  a 
good  sujDply  of  green  wood  could  be  placed 
beneath  it  to  dry. 

After  considerable  argument  each  man 
placed  a  dollar  bill  upon  the  table,  and  it  was 
agreed  that  the  one  whose  opinion  was  nearest 
the  guide's  reason  for  elevating  the  stove 
should  take  the  pool. 

The  guide  was  called  and  asked  why  the 
stove  was  placed  in  such  an  unusual  position. 

"Well,"  said  he,  "when  I  brought  the  stove 
up  the  river  I  lost  most  of  the  stove-pipe  over- 
board, and  had  to  set  the  stove  up  there  so  as 
to  have  the  pipe  reach  the  roof." 

He  got  the  money. 

— Boston  Herald. 

Miser  Brown 

32.  I  was  speaking  of  John  Wanamaker. 
While  reproving  some  of  his  Sunday-school 
pupils  for  laughing  at  a  deaf  boy's  wTong 
answers  to  misunderstood  questions,  he  said: 

"Boys,  it  isn't  right  to  laugh  at  anyone's 


134*  LIP-READING 

affliction.  Besides,  you  never  know  when 
your  own  words  may  be  turned  against  you. 
I  once  knew  a  deaf  man — let  us  call  him 
Bro^vn — who  was  disposed  to  stinginess.  He 
never  married;  but  he  was  very  fond  of  so- 
ciety, so  one  day  he  felt  compelled  to  give  a 
banquet  to  the  many  ladies  and  gentlemen 
whose  guest  he  had  been. 

"They  were  amazed  that  his  purse-strings 
had  been  unloosed  so  far,  and  they  thought 
he  deserved  encouragement,  so  it  was  ar- 
ranged that  he  should  be  toasted.  One  of  the 
most  daring  young  men  of  the  company  was 
selected ;  for  it  took  a  lot  of  nerve  to  frame  and 
propose  a  toast  to  so  unpopular  a  man  as 
Miser  BroM^n.  But  the  young  man  rose. 
And  this  is  what  was  heard  by  everyone  ex- 
cept Brown,  who  never  heard  anything  that 
was  not  roared  into  his  ear: 

"  'Here's  to  you,  Miser  Brown.  You  are 
no  better  than  a  tramp,  and  it  is  suspected 
that  you  got  most  of  your  monej''  dishonestly. 
We  trust  that  you  may  get  your  just  deserts 
yet,  and  land  in  tlie  penitentiary.' 

"Visible  evidences  of  applause  made  Brown 
smile    with   gratification.      He   got   upon   his 


HOW  NYE  KNEW  NORTH  CAROLINA     135 

feet,   raised  his  glass  to  his  lips,   and   said: 
'The  same  to  you,  sir.'  " 

— Marshall  P.  Wilder,  in  the  New  York 
Tribune. 

How  Nye  Knew  North  Carolina 

33.  The  story  is  told  of  the  time  when  Bill 
Nye  stood  on  the  top  of  Lookout  INIountain 
and  the  guide  explained  that  they  could  see 
seven  states  from  that  point  of  view;  namely, 
Tennessee,  Virginia,  Kentucky,  North  Caro- 
lina, South  Carolina,  Georgia  and  Alabama. 

"Where's  North  Carolina?"  Nye  inquired. 

The  man  pointed  to  a  place  in  the  horizon 
to  which  distance  gave  a  purple  hue. 

"What  makes  you  think  that  is  North 
Carolina?"  Nye  asked. 

"Oh,  we  know  by  the  direction  and  the 
conformation  of  the  mountains  there,"  the 
man  replied. 

"Well,  I  know  that's  not  North  Carolina," 
Nve  declared,  with  some  vehemence.  "And 
you  know  it,  too,  if  you  would  stop  to  think. 
Here  is  a  map  of  the  United  States,  and  you 
can  see  that  North  Carolina  is  pink.  Besides, 
I  know  it  is  pink.     I  live  in  that  State  con- 


136  LIP-READING 

siderably,  and  I  have  helped  to  paint  it  red, 
but  of  course  I  go  away  sometimes,  and  it 
fades  a  httle,  leaving  it  pink.  No,  sir;  you 
can't  stuff  me.  The  place  you  are  pointing  to 
a  color-blind  man  could  see  is  purple." 

Nye  said  those  things  so  seriously  that  the 
man  was  ahnost  dazed.  He  gave  Nye  a 
puzzled  look,  and  then  went  on  pointing  out 
the  other  States. 


Prussian  Atmosphere 

34.  It  was  during  the  most  congested  time 
of  day  at  Columbus  Circle,  in  New  York  City, 
and  I  stood  watching  a  traffic  cop  there, 
fascinated.  Was  he  wig-wagging  to  that 
bibulous  looking  individual  over  on  the  side- 
walk? What  did  his  signals  mean?  The 
surging  cars  were  massed  together,  moving 
somehow,  honking,  spitting. 

A  little  flivver  crawled  into  view.  Its  two 
occupants  looked  like  the  kind  of  people  who 
have  given  up  a  big  car  and  a  chauffeur  for 
the  duration  of  the  war.  Tlicy,  like  everyone 
else,  were  pu/zlcd  by  the  policeman's  signals. 
They  stopped  tlie  fli^^Tr,  and  the  woman 
driver  caught  the  big  cop's  eye.     She  smiled 


PRUSSIAN  ATMOSPHERE  137 

inquiringly,  nodded  and  pointed  her  arm 
towards  Fifty-ninth  Street,  doAvn  whicli  they 
apparently  wished  to  go.  Just  then  a  big  car 
of  khaki  clad  youngsters  behind  them  honked 
angrily.     They  were  holding  up  the  army! 

But  neither  I,  nor  the  occupants  of  the 
flivver,  nor,  indeed,  the  impatient  soldier  boys, 
were  prepared  for  what  followed.  The  police- 
man strode  to  the  offending  little  car  and  in 
bellowing,  menacing  accents  abused  the  as- 
tounded couple  until  he  was  breathless!  He 
fairly  shook  the  little  car  in  his  rage ! 

"Get  off  the  road!"  he  yelled.  "I  don't 
care  where  yuh  go  or  where  yuh  want  to  go! 
Kill  yerselves  and  smash  yer  jitney!  Can't 
yuh  see  there  are  soldiers  behind  yuli?  Move 
along!    Move  along!" 

The  flivver  crawled  back  into  the  traffic 
and  went  around  the  fountain,  whence  it  had 
come.  The  cop  turned  to  the  soldier  load 
and  beamed.    He  expected  approval. 

I  was  so  near  to  the  car  full  of  Americans 
in  uniform  that  I  heard  distinctly  what  was 
said.  A  fresh  faced  young  captain  turned 
in  his  front  seat. 

"The  poor  fish  thinks  he's  in  Prussia!" 
he  cried.     "Give  him  the  icy  glare,  boys!" 


138  LIP-READING 

The  khaki-filled  car  moved  forward,  al- 
most upsetting  the  beaming  officer  of  the 
law,  and  those  impudent  youngsters  glared 
straight  ahead.  Approval?  Not  for  the  Prus- 
sian atmosphere! 

— The  Woman  Who  Saw. 


Cutting  Red  Tape 

35.  During  the  early  days  of  our  control  of 
the  Philippines  there  was  a  War  Department 
order  against  cabling  to  this  country  the  names 
of  privates  in  the  army  who  were  killed,  or  who 
died  of  cholera.  As  a  result,  if  word  came 
that  Company  B,  of  the  Fifteenth  Regiment, 
for  instance,  had  been  in  battle,  every  mother 
who  had  a  boy  serving  in  that  command  M^ent 
shivering  with  fear  for  six  long  weeks  before 
the  mails  brought  word  whether  her  boy  was 
among  tliose  who  fell  or  not. 

Jacob  Riis  was  asked  to  put  tlie  case  before 
the  President  and  get  him  to  cut  the  red  tape, 
if  possil)le.  When  Riis  arrived  at  Oyster  Bay 
he  found  tlie  President  at  luncli  with  soldiers 
and  statesmen.  Fortunatelv,  Riis  was  seated 
beside    General   Young,    a    fine    old    warrior 


CUTTING  RED  TAPE  139 

whom  he  had  met  before.  Riis  told  him  of 
what  was  on  his  heart.  The  General  knew 
of  no  such  order  when  he  was  in  the  Philip- 
pines, and  tliey  got  into  quite  a  little  argument 
about  it,  which  Riis  purposely  dragged  out 
until  there  was  a  lull  in  the  talk  at  the  Presi- 
dent's end  of  tlie  table,  and  he  saw  the 
President  looking  his  way.  Riis  asked  him 
if  he  knew  of  the  order. 

"What  order?"  said  he;  and  Riis  told  him — 
told  him  of  the  mothers  fretting  for  their  boys 
all  over  the  land.  He  looked  up  quickly 
at  Adjutant-General  Corbin,  who  sat  right 
opposite.  It  was  what  Riis  wanted.  He 
knew. 

"General,"  said  JNIr.  Roosevelt,  "is  there 
such  an  order?" 

"Yes,  JNIr.  President,"  said  he,  "there  is." 

"Why?"  said  JNIr.  Roosevelt,  who  is  a  man 
of  few  words. 

General  Corbin  explained  that  the  telegraph 
tolls  were  heavy.  An  officer  had  a  code  word, 
just  one,  to  pay  for,  whereas  to  send  the  whole 
name  and  place  of  a  private  soldier  by  cable 
might  easilj^  cost  twenty-five  dollars.  The 
President  heard  him  out. 


140  LIP-READING 

"Corbin,"  he  said,  "can  you  telegraph  from 
here  to  the  PhiHppines?" 

The  General  thought  he  might  wait  until 
he  got  to  Washington;  he  was  going  in  an 
hour. 

"No,"  said  the  President;  "no,  we  will 
not  wait.  Send  the  order  to  have  the  names 
telegraphed  now.  Those  mothers  gave  the 
best  they  had  to  their  country.  We  will  not 
have  them  breaking  their  hearts  for  twenty- 
five  dollars  or  fifty.  Save  the  money  some- 
where else." 

— Roosevelt  the  Citizen, 

By  Jacob  Riis. 


SECTION  II 

CONVERSATIONS 

36.  The  conversations  given  below  are  not 
at  all  intended  to  take  the  place  of  the  con- 
versation practise  directed  in  Chapter  IV; 
they  are  rather  supplementary  thereto.  They 
give  many  of  the  commonplaces  of  every  day 
conversation;  and  the  more  such  common- 
places are  practised  and  memorized  the  bet- 
ter for  the  lip-reader. 

The  conversations  are  arranged  in  double 
column  to  facilitate  practise.  The  assistant 
should  take  the  part  of  A,  and  the  pupil 
the  part  of  B.  /Vs  column  in  the  pupil's 
book  should  be  covered  with  a  piece  of  paper. 
When  the  pupil  has  understood  A's  remark, 
as  spoken  by  the  assistant,  he  should  read 
B's  remark  from  the  book,  and  so  on  in  turn 
until  the  conversation  has  been  successfully 
completed.  It  may  be  necessary  to  repeat 
the  whole  several  times  to  attain  the  effect 
of  easy  conversation ;  if  necessary,  do  so.    Then 

141 


142 


LIP-READING 


the  parts  should  be  reversed,  the  pupil  taking 
A  and  the  assistant  B,  the  pupil  now  covering 
J5's  part,  but  otherwise  practising  in  the  same 
manner  as  before.  Finally  the  assistant  may 
take  both  parts  while  the  pupil  follows. 


The  Weather 


37.  A.  Is  this  cold 
enough  for  you.'* 

A.  So?  Mine  was  only 
five  below. 

A.  Do  you  have  any 
trouble  in  keeping  the 
house  warm.'' 

A.  INIy  house  is  always 
warm,  we  are  so  pro- 
tected from  the  wind. 

A.  AYcIl,  I  must  say,  I 
don't  like  to  be  cold. 


A.  Yes.  There  is  some- 
thing exhilarating  a])out 
it;  it  arouses  our  fighting 
blood. 


B.  Plenty.  My  ther- 
mometer this  morning  was 
seven  below  zero. 

B.  My  house  is  more 
exposed  than  yours,  you 
know. 

B.  Not  withaslillcoid, 
like  this.  But  when  it 
blows,  we  need  the  open 
fires  as  well  as  the  furnace. 

B.  Yes,  and  you  are 
warmer  in  summer  too. 

B.  Nobody  does,  but 
did  you  ever  notice  how 
people  take  a  sort  of 
jjride  in  having  extreme 
cold? 

B.  And  in  kee])ing 
warm,  there  is  the  feeling 
of  having  won  a  victory. 


CONVERSATIONS 


143 


A.  I  would  rather  have 
the  weather  seasonable; 
hot  days  in  winter  are 
unbearable. 

A.  I  haven't  had  a  cold 
for  over  a  year. 

A.  I  think  it  will  be 
warmer  by  this  afternoon. 

A.  Do  you  think  it  will 
snow. 5^ 

A.  We  have  surely  been 
having  beautiful  weather. 

A.  We  have  had  a  good 
many  snowstorms  this 
winter. 

A.  The  snow  is  cer- 
tainly beautiful  in  the 
country,  but  in  the  city — . 

A.  Did  you  see  the 
moonlight  on  the  snow 
after  the  last  storm? 

A.  It  was  almost  as 
bright  as  day. 

A.  I  guess  with  this 
cold  spell  the  backbone 
of  winter  will  be  broken. 


B.  We  are  not  dressed 
for  them,  and  that's  the 
way  we  take  cold. 

B.  You  had  better 
knock  on  wood! 

B.  Not  very  much,  I 
fear.  The  wind  is  north- 
east. 

B.  I  shouldn't  be  sur- 
prised if  it  did  before 
night. 

B.  Yes,  seven  days  of 
sunshine  since  the  last 
snow  storm. 

B.  Seven  so  far,  and 
five  of  them  hea\'y. 

B.  In  the  city  it  gets 
carted  away. 

B.  The  moon  was  full 
that  night  when  it  cleared 
up. 

B.  I'll  be  rather  glad 
when  spring  comes. 

B.  I  shall  not  be  sorr3% 
I  like  each  season  when 
it  comes,  but  am  always 
glad  to  change  to  the 
next. 


144 


LIP-READING 


A.  The  fall  is  my  favor-         B.  I  think  the  summer 

ite  season.    The  best  days  is  mine.    "  What  is  so  rare 

of  the  year  come  in  Octo-  as  a  day  in  June.'*" 
ber. 

At   the  Breakfast  Table 


38.  A.  Good  morning. 

A.  Did  you  sleep  well 
last  night? 

A.  I  was  rather  rest- 
less. I  think  my  room 
was  too  warm. 

A.  Not  at  all,  I  have 
not  even  a  headache. 

A.  That  is  why  you  are 
late  for  breakfast. 


A.  Will  you  have  some 
fruit? 

A.  Are  you  in  a  hurry 
to  get  down  town? 

A.  That's  good,  for  I 
don't  like  to  eat  break- 
fast in  a  hurry. 

A.  I  like  my  coflFee  hot, 
but  I  drink  it  slowly. 

A.  Only  one.  I  have 
a  sweet  tooth,  but  not  for 
crofTce. 


B.  Good  morning. 

B.  Very  well  indeed. 
Did  you  sleep  well? 

B.  That's  too  bad.  I 
hope  you  don't  feel  any 
the  worse  for  it. 

B.  I  slept  so  well,  I 
overslept. 

B.  Yes,  I  am  usually 
down  at  half  past  seven, 
and  now  it  is  almost 
eight, 

B.  Yes,  thank  you. 

B.  No,  not  this  morn- 
ing. 

B.  Neither  do  I,  es- 
pecially v\'hcn  the  coffee 
is  so  hot  it  burns  your 
mouth. 

B.  How  many  lumps 
of  sugar  do  you  like? 

B.  I  always  take  two 
lumps,  and  two  cups  of 
coffee. 


CONVERSATIONS 


145 


A.  Will  3'ou  please  pass 
me  the  cream  and  sugar? 
A.  Yes,  I  always  do. 

A.  These  rolls  are  very- 
good  this  morning. 

A.  I  wonder  what  is  the 
matter  with  the  butter  we 
have  been  having  lately.'* 

A.  Yes,  forty-five  cents 
a  pound,  I  believe. 

A.  SLxty-five  cents  for 
absolutely  fresh  ones. 

A.  Yes.  Aren't  these 
eggs  boiled  very  hard? 

A.  Would  you  like  some 
fresh  water? 

A.  I  will  ring  the  bell. 
(Mary,  will  you  bring 
Mr.  B.  a  fresh  glass  of 
water.) 

A.  The  weather  is  very 
cold  this  morning.  You 
had  better  wear  your 
heavy  coat  and  mufller. 

A.  Certainly. 


B.  You  eat  plenty  of 
sugar  on  vour  cereal. 

B.  Will  you  please  pass 
me  the  rolls? 

B.  They  certainly  are. 
And  may  I  trouble  you 
for  some  more  butter? 

B.  It  is  a  little  strong, 
but  not  much.  Butter  is 
very  high  now,  they  say. 

B.  That  is  the  high  cost 
of  living.  How  much  are 
eggs,  do  you  know? 

B.  That's  awful.  Is 
that  what  these  eggs  cost? 

B.  I  like  them  hard. 
But  I  haven't  any  spoon. 
Vt'ill  you  pass  me  one? 

B.  If  you  please. 


B.  The    water    here 
certainlv  good.     It  is  i 


is 


so 


clear,  and  not  a  bit  hard. 

B.  I  shall,  and  I  think 
I  shall  warm  myself  be- 
fore the  open  fire  for  a 
minute,  if  you  will  excuse 
me. 

B.  Thank  you.  Good 
morning. 


146 


LIP-READING 


39.  A.  You  were  late 
home  from  the  office  to- 
night. 

A.  Is  it  very  cold  out? 

A.  I    have    some    good 
hot  soup  for  you. 
A.  Tomato  bisque. 

A.  Do  you  need  more 
salt  or  pepper? 

A..  Will  you  have  some 
crackers? 

A.  Yes,  and  I  had  two 
callers  this  afternoon. 

A.  Two  ladies  from  the 
church.  You  don't  know 
them. 

A.  I  picked  it  out  my- 
self. 

A.  A  little  of  both,  if 
you  please. 

A.  Please.  AVill  you 
have  some  string  beans? 


A.  WolKhere  arc  French 
fried  jjotatoes  and  rice. 


At  the   Dinner    Table 

B.  Yes,    I    have    been 
very  busy. 


B.  Very.  I'm  not  warm 
yet. 

B.  That's  good.  What 
kind  is  it? 

B.  I  like  that,  and  this 
certainly  tastes  good. 

B.  No,  thank  you. 

B.  Yes,  please.  Have 
von  been  busv  all  dav  too? 

B.  Who  were  they? 
Anyone  I  know? 

B.  This  chicken  is  very 
tender;  it  almost  falls 
apart  when  I  carve. 

B.  What  j)art  will  you 
have  to-night?  White 
meat  or  dark? 

B.  And  some  of  the 
dressing? 

B.  Yes,  I'm  hungry  to- 
night. I  can  eat  the 
string  beans  and  every- 
thing else  you  give  me. 

B.  I  do  like  rice,  hot, 
with  butler  and  salt  on  it. 


CONVERSATIONS 


147 


A.  And  here  is  some 
fresh  bread,  baked  to-day. 

A.  Yes,  some  of  the 
crabapple  jelly  I  put  up 
last  summer. 

A.  The  baby  has  been 
very  good  to-day. 

A.  Yes,  I  put  him  to 
bed  an  hour  ago. 

A.  Of  course.  And 
what  do  you  think? 

A.  Try. 

A.  No,  he  has  a  tooth! 


A.  I  knew  that. 
A.  Here  it  is. 

A.  I  made  it  myself. 


A.  You  won't  sleep  well 
to-night. 


B.  Have  you  any  jellj'.^ 
Chicken  is  not  complete 
without  jelly. 

B.  I'd  like  the  gravy 
too,  if  you  please. 

B.  He's  asleep  by  this 
time,  I  suppose. 

B.  Did  you  show  him 
off  to  your  callers? 

B.  I  could  never  guess. 

B.  He  talked  for  them. 

B.  Good  for  him.  Ah, 
here  comes  the  pic, — ■ 
pumpkin,  my  favorite! 

B.  Is  there  any  cheese? 

B.  This  is  the  best  pie 
Mary  ever  made. 

B.  You're  a  wonder. 
Pumpkin  pie  and  good 
black  coffee.  I'm  satisfied. 

B.  I'll  sleep  like  a 
top. 


In  the  Subway 

40.  A.  Where  are  we?         B.  We  just  passed  59th 

Street. 
A.  We  are  making  very         B.  Yes,   we  have  been 
poor  time  this  morning.         blocked  several  times. 


148 


LIP-READING 


A.  And  I  am  in  a  hurry 
to  get  to  the  office  too. 

A.  It  is  certainly  pro- 
voking. 

A.  Twenty-third  street? 
Is  that  so.'  We  have  to 
transfer  at  Grand  Central. 

A.  Did  you  ever  see 
the  subway  when  it  wasn't 
crowded.'^ 

A.  The  subway  is  sup- 
posed to  make  better 
time. 

A.  No,  and  not  half  the 
time,  I  think. 

A.  How  far? 

A.  Eight  minutes  walk. 
It  would  do  you  good  to 
walk  it. 

A.  Usually,  except 
when  I'm  in  a  hurry. 

A.  Over  half  a  mile, 
but  I  like  it. 

A.  "Grand  Central." 
Here  is  where  we  change 
for  the  local. 

A.  And  it's  not  jammed 
full.     We'll  have  a  seat. 


B.  It  always  happens 
that  way. 

B.  I  get  off  at  your 
station  this  morning. 

B.  I  hope  the  local 
won't  be  as  jammed  as 
this  car. 

B.  Not  very  often.  I 
think  the  elevated  is  less 
crowded. 

B.  But  not  this  morn- 


ing. 


B.  I  live  too  far  from 
the  elevated  up  town. 

B.  About  half  a  mile. 

B.  Do  you  ever  take 
the  elevated.^ 

B.  Like  this  morning! 
How  far  do  you  have  to 
walk. 5 

B.  We  don't  walk 
enough,  most  of  us,  I 
think. 

B.  There's  a  local  wait- 
ing for  us,     That's  good. 

B.  Fine!  I'm  tired 
enough  of  hanging  onto  a 
strap  for  one  morning. 


CONVERSATIONS 


149 


A.  Don't  you  usually 
have  to  do  it? 

A.  The  local  is  making 
good  time. 

A.  I  hope  not. 


A.  That  is  one  reason 
why  I  prefer  to  take  it. 

A.  It's  worth  it,  es- 
pecially in  the  summer 
time. 

A.  Aren't  we  almost 
there.'* 


B.  Nine  times  out  of 
ten. 

B.  Perhaps  you  w^on't 
be  late  after  all. 

B.  You  have  better  air 
in  the  elevated  than  we 
have  in  the  subway. 

B.  INIaybe  I  will  get 
up  early  some  mornmg 
and  join  you. 

B.  But  in  the  winter  the 
subway  is  always  warm. 

B.  Twenty-eighth  street 
was  the  last  stop.     Here 


we  are 


The  Commuters 


41.  A.  The  train  was 
late  this  morning. 

A.  I  haven't  seen  you 
on  the  7:53  lately. 

A.  Do  you  get  to  the 
office  in  time.'* 

A.  What  time  do  you 
have  breakfast.'' 

A.  And  I  at  half  past 
six. 


B.  Yes,  about  five  min- 
utes. That  is  why  I 
caught  it. 

B.  No.  I've  been  tak- 
ing the  7:58. 

B.  If  the  train  is  on 
time. 

B.  Half  past  seven.  I 
get  up  at  quarter  before 
seven. 

B.  I  don't  mind  it  now 
in  the  summer. 


150  LIP-READING 

A.  Nor     I.       It      gets  B.  Then    we    have    to 

bright  so  early.     But   in  get  up  earlier  to  fix  the 

the  winter .  furnace. 

A.  Well,  I  get  up  now  B.  It's     daylight     that 

sometimes    at    half    past  makes  the  difference, 
five  to  work  in  the  gar- 
den. 

A.  Have  you  much  of  a  B.  No,     I     have     my 

garden  this  summer?  ground     mostly     planted 

in      fruit       trees,       vou 
know. 

A.  Are  you  getting  any  B.  The  cherries  and  tlie 

fruit  from  them,^  summer  apples  have  been 

fine. 

A.  You      have      some  B.  Yes,  four,  but  they 

peach  trees,  haven't  you.^  are  not  going  to  bear  well 

this  j^ear. 

A.  This     is     an     apple  B.  My  apples  are  cer- 

year,  so  they  saj\  tainly  promising  well. 

rV.  I  like  to  work  in  my  B.  How    is    it    getting 

garden.  along? 

A.  Pretty    well.      The  B.  That's  a  fact.     We 

dry  weather  has  been  hard  haven't  had  much  rain, 
on  it. 

A.  My  lawn  is  in  bad  B.  Do  you  use  the  hose 

shape  too.  on  it? 

A.  Yes,     and     on     the  B.  That  ought  to  help, 
garden  too. 

A.  It  does.     But  nolh-  B.  What  vegetables  are 

ing    can    take    llie    })Iacc  you  raising  this  year? 
of  good  soaking  rains. 


CONVERSATIONS 


151 


A.  Lettuce,  string 
beans,  squash,  cucumbers 
and  corn. 

A.  In  these  vegetables 
and  enough  of  the  beans 
left  over  for  canning. 

A.  Not  very  much.  She 
"W'ould  Hke  to,  but  she 
hasn't  the  time. 

A.  That  is  doing  well. 
A.  The       train      came 
through   fast   to-day. 

A.  What  train  do  you 
take  out  to-night? 

A.  That's  the  one  I  ex- 
pect to  take,  too. 


B.  Does  the  garden 
sui)ply  all  your  needs? 

B.  Docs  your  wife  put 
up  many  things  in  the 
summer? 

B.  Mine  put  up  over 
two  hundred  and  fifty 
jars  of  one  kind  or  an- 
other last  year. 

B.  Why,  here  we  are! 

B.  I  guess  we  have  al- 
most made  up  the  five 
minutes  it  was  late. 

B.  I  hope  to  catch  the 
five-thirty. 

B.  I'll  look  for  you. 


Meeting  a  Friend 


43.  A.  Why,  how  do 
you  do? 

A.  Fine.  It  is  good  to 
see  you  again. 

A.  I  thought  you  were 
lost. 

A.  Where  have  you 
been  keeping  yourself? 

A.  Did  you  go  abroad 
last  summer? 


B.  Very  well,  thank 
you;  and  how  are  you? 

B.  Yes,  I  haven't  seen 
you  for  a  long  time. 

B.  I  have  almost 
thought  so  myself. 

B.  I  have  been  travel- 
ing a  good  deal. 

B.  No,  my  plans  fell 
through. 


152 


LIP-READING 


A.  What  was  the 
trouble? 

A.  Well,  it's  good  to  be 
busy. 

A.  Business? 

A.  My  business  keeps 
me  tied  right  here.  I 
envy  you   your  change. 

A.  I  took  a  whole 
month  last  summer. 

A.  Yes,  I  was  there  for 
a  week. 

A.  All  well,  but  father. 
But  he  is  better  now. 

A.  Every  week,  and 
sometimes  oftener. 

A.  I  will.  I  expect  to 
go  home  again  for  Thanks- 
giving. 

A.  How  is  your  wife? 


A.  And   the  boy? 
A.  He    must    be    get- 
ting to  be  a  big  boy  now. 

A.  And  the  little  girl? 

A.  You    ought    to    l)c 
happv  with   vour  familv. 

lit  ^  ».' 


B.  I  was  too  busy  to 
get  away. 

B.  I've  been  just  about 
all  over  this  country  since 
I  saw  you. 

B.  Yes. 

B.  Well,  I  need  it,  for  I 
haven't  had  a  real  vaca- 
tion for  over  two  years. 

B.  Did  you  go  back 
home? 

B.  How  were  all  the 
family? 

B.  Do  you  hear  from 
them  verj^  often? 

B.  Remember  me  to 
them  all  when  you  write. 

B.  That's  fine.  There's 
no  place  like  home  to 
spend   Thanksgiving. 

B.  Very  well,  better 
than  she  has  been  for 
some  time. 

B.  Well,  too. 

B.  He's  almost  five.  We 
expect  to  send  him  to 
school  next  year. 

B.  She's  just  beginning 
to  walk. 

B.  I  am.  .  When  are 
you  going  to  get  married.' 


CONVERSATIONS 


153 


A.  Don't  ask  me!  I 
don't  even  know  who  the 
lady  is. 

A.  Well,  remember  me 
to  your  wife,  and  a  kiss 
for  the  kiddies. 

A.  I'm  sorry,  but  I 
have   an   engagement. 

A.  I'll  be  glad  to. 

A.  I'll  be  there.  So  long. 


B.  I'll  be  the  first  to 
congratulate  you  when 
you  do. 

B.  All  right,  say,  can 
you  come  out  to  dinner 
with   me   to-night? 

B.  To-morrow    night? 

B.  Good.     Meet  me  at 
the  office  at  five  o'clock. 
B.  So  long. 


The  Stranger  on  the  Street 


43.  A.  I  beg  your  par- 
don, but  can  you  tell  me 
what  street  I'm  on? 

A.  Which  way       is 

Broadway  from  here? 

A.  I  want  to  find  Wana- 
maker's  store. 

A.  And  may  I  ask 
which  way  is  down?  I'm 
a  stranger  in  the  city. 

A.  Oh,  I  don't  like  to 
trouble  you  so  much. 

A.  It  is  certainly  very 
kind  of  you. 


B.  You're  on  20th 
street. 

B.  That  way.  Cross 
Fifth  Avenue  and  the 
next  street  is  Broadway. 

B.  That's  about  twelve 
blocks  down.  You  can 
take  a  car. 

B.  I'll  walk  with  you  to 
Broadway  and  i)ut  you 
on  the  car. 

B.  It's  no  trouble  at  all. 
I'm  going  that  way. 

B.  There  is  a  car  com- 
ing now.  Hurry  if  you 
want  to  catch  it. 


154 


LIP-READING 


A.  I    thank    you    very        B.  It's  nothing  at  all. 


much. 


I'm  glad  to  do  it. 


II 

A.  Pardon  me,  sir,  but         B.   600      West      129th 

can  you  tell  me  how  to  Street.    Take  the  subway 

find   the  address   on  this  to  Manhattan  Street, 
paper.' 

A.  Is   it   far   up   town,         B.  Yes,  way  up  town, 
sir.' 

A.  I  hope  it  isn't  very         B.  Well,  it  is  pretty  far. 
far. 

A.  Can  I  walk  it,  sir.-*        B.  If    you     can     walk 

seven  or  eight  miles. 

A.  I  can  never  do  that.         B.  Take    the    subway, 

then. 

A.  I  haven't  any  money,         B.  So      that     is     your 

sir,    not    a    cent    in    my  game,  is  it?    I  thought  so. 

pocket.  Good  morning. 

A.  Just  a  minute,   sir.         B.  Will    you    swear  to 

I  swear .  spend  it  on  a  drink? 

A.  Oh,  sir.  B.  Will  you? 

A.  Yes,  sir.  B.  Here's  your  nickel. 


Ill 

A.  Excuse  me.  B.  Well? 

A.  I'm  starving,   sir.  B,  You   don't   look   it. 

A.  I  am,  sir.    I  haven't  B.  That's  a  long  time, 

tasted    a    morsel    of   food  and  I'll  never  lot  a  luingry 

for  three  days.  man  starve  if  I  can  help  it. 


CONVERSATIONS 


155 


A.  Thank  you,  sir.  A 
quarter  will  give  me  food 
and  a  bed. 

A.  Oh,  I  couldn't  do 
that,  sir.  You're  very- 
kind,  but . 

A.  You  have  a  kind 
heart,  sir.  But  I  can't 
do  it,  sir. 


A,  Thank  you,  sir,  but 


B.  No,  you  come  with 
mc.  I'm  hungry  myself. 
We'll  have  a  good  dinner 
together. 

B.  Oh,  we  won't  go  to 
a  restaurant;  just  to  a 
cheap  lunch  place. 

B.  You  had  better  come 
along.  I  never  give 
money  on  the  street,  but 
I'll  give  a  square  meal  any 
time. 

B.  All  right.    Good  day. 


The  Doctor's  Call 


44.  A.  Well,  how's  my 
patient  to-day? 

A.  Let  me  see  your 
tongue. 

A.  Now  just  slip  this 
thermometer  under  it, 
while  I  feel  your  pulse. 
There,  you  can't  use  your 
tongue  very  much  now. 

A.  How  did  you  sleep 
last  night.' 

A,  Do  you  have  any 
pain  now? 


B,  I  don't  know. 
That's  for  you  to  find 
out,  doctor. 

B.  It  is  still  in  good 
working  order. 

B.  I'm  always  glad 
when  that  thermometer 
comes  out.  I  feel  like 
taking  a  bite  out  of  it. 

B.  Not  very  well. 

B.  Some,  but  that  is 
much  better. 


156  LIP-READING 

A.  Open  your  mouth;  I        B.  Was       that       wide 
want  to  see  your  throat.      enough? 
A.  Very  good. 


B. 

When 

are  you 

go- 

ing 

to    let 

me    get 

up. 

doctor.' 

may 
hour 

B. 

ter.? 

Am    I 

really 

bet- 

A.  To-day.  You 
sit  up  for  half  an 
this  afternoon. 

A.  Much  better.     You        B.  But  I  still  feel  like 
have  no  temperature,  and    a  rag. 
your  pulse  is  normal. 

A.  Fresh  air,  sleep,  and        B.  I  always  sleep  with 
a  tonic,  and  you  will  soon    my  window  open, 
be  well  aeain. 


>^t>' 


A.  Good;  all  you  need  B.  What   tonic  shall   I 

now  is  building  up.  take.'* 

A.  I    will    give   you    a  B.  Thank    you.     I  will 

prescription.  send   it  to   the  drugstore 

to  be  filled. 

A.  I    shall    not    come  B.  All     right,     doctor, 

again  for  several  days.  Good-bye. 


The  Home 

45.  A.  I  shall  be  glad         B.  We  like  it  very  much, 
to  see  your  new  home. 

A.  Did    you    say    you         B.  We       built.         We 
bought  it  or  built  it.'  l)ouglit    the   land   a   year 

ago,  and  built  during  the 
sunnner. 


CONVERSATIONS 


157 


A.  You  know  the  prov- 
erb: "Fools  build  houses 
and  wise  men  buy 
them." 

A.  How  far  are  you 
from  the  station? 

A.  That  is  not  far. 

A.  It  looks  well;  it  is 
very  attractive  from  the 
outside. 

A.  You  have  a  good 
lot. 

A.  How  deep.f* 

A.  You  have  a  large 
porch. 

A.  (Inside  the  house). 
I  like  the  arrangement  of 
the  house  very  much. 

A.  Your  central  hall  is 
a  favorite  idea  of  mine. 


A.  How  many  rooms 
have  you  .5^ 

A.  You  use  the  unfin- 
ished rooms  for  storage,  I 
suppose. 


B.  Yes.  I  know;  but 
fortunately  it  doesn't  hold 
in  our  case. 

B.  About  seven  minutes 
walk.  ^^'e  are  almost 
there. 

B.  No.  You  can  see 
the  house  now. 

B.  And  I  think  you 
will  like  the  inside  even 
better. 

B.  Seventy -five  feet 
wide. 

B,  One  hundred  and 
fifty. 

B.  Yes,  it  is  made  for 
comfort. 

B.  That  we  think  is  the 
most  important  thing  in 
building. 

B.  A  central  hall  and 
rooms  at  the  four  corners 
were  what  we  insisted 
on. 

B.  Nine  and  bath.  And 
two  unfinished  rooms  in 
the  attic. 

B.  One  of  them.  The 
otlier  is  a  playroom  for 
the  children. 


158 


LIP-READING 


A.  And  you  can  have 
it  finished  off  sometime 
if  vou  want  to. 


A.  They  all  have  good 
light. 

A.  That's  a  handsome 
fireplace  in  the  library. 

A.  Nothing  is  more  de- 
lightful on  a  cold  winter 
evening. 

A.  Four  bedrooms? 


A.  You  certainly  have 
good  light  and  ventila- 
tion. 

A.  You  ought  to  be 
fairly  comfortable  in  sum- 
mer. 

A.  Was  it  finished  on 
schedule  time? 

A.  Well,  you're  the  first 
one  I  ever  heard  of  did 
that. 

A.  ^"oii  have  a  fine 
house.  ril  take  back 
that  proverb' 


B.  Yes,  we  probably 
shall. — On  the  first  floor, 
you  see,  we  have  parlor, 
library,  dining-room  and 
kitchen. 

B.  Every  room  in  the 
house  has. 

B.  Isn't  it.?  And  we 
have  many  a  cheery  fire 
there. 

B.  Come  upstairs,  and 
let  me  show  you  the  bed- 
rooms. 

B.  We  use  three  for 
bedrooms.  The  other  is 
my  wife's  sewing  room. 

B.  Yes,  cross-ventilation 
in  every  bedroom. 

B.  We  expect  to  be. 
We  didn't  get  into  the 
house  until  September. 

B.  It  was  to  be  done 
the  first  of  Octol)er.  We 
moved  in  a  week  ahead. 

B.  We  had  a  good 
architect  and  a  good  con- 
tractor. 

B.  Thank  you.  I  knew 
you'd  like  it. 


CONVERSATIONS 


159 


At  School  (Useful  Information) 

46.  A.    What     is    the        B.  Two  cents  for  each 
postal   rate   on   letters  in     ounce  or  fraction, 
the  United  States? 


A.  What  is  the  rate  to 
England  ? 

A.  Are  there  any  other 
foreign  countries  to  which 
the  rate  is  two  cents? 

A.  What  is  the  rate 
to  other  countries? 

A.  What  legal  holidays 
are  observed  in  all  the 
states  of  the  Union? 

A.  What  states  do  not 
observe  New  Year's  day? 

A.  How  many  states 
are  there  in  the  Union" 

A.  Which  was  the  last 
to  be  admit  led? 

A.  What  is  the  popu- 
lation of  the  United 
States  ? 

A.  What  is  the  total 
area  of  the  United  States? 

A.  Which  state  has  the 
largest  population? 


B.  The  same,  and  also 
to  Germany  by  direct 
steamer. 

B.  Canada,  Ne'W'found- 
land,  Mexico,  Panama  and 
Shanghai. 

B.  Five  cents  for  the 
first  ounce,  and  three  cents 
for  each  ounce  additional, 

B.  Only  four,  V\'ashing- 
ton's  Birthday,  Fourth 
of  July,  Thanksgiving 
Day  and  Christmas. 

B.  Only  Kansas  and 
Massachusetts. 

B.  Forty-eight. 

B.  Arizona. 

B.  Over  ninety  million 
at  the  last  census. 

B.  Over  three  million 
square  miles. 

B.  New  York,  with 
over  nine  million. 


ICO 


LIP-READING 


A.  Which  state  has  the 
emallest  ? 

A.  ^\^lo  was  the  first 
president  of  the  country? 

A.  How  long  did  he 
serve? 

A.  How  many  terms? 

A.  How  long  is  a  sen- 
ator's term  of  office? 

A.  And  a  member  of 
the  House  of  Representa- 
tives? 

A.  What  are  the  three 
departments  of  the  gov- 
ernment? 

A.  How  long  do  the 
members  of  the  Supreme 
Court  serve? 

A.  What  country  of 
the  world  has  the  largest 
population? 

A.  What  is  the  Chinese 
form  of  government? 

A.  What  is  the  British 
form  of  government? 

A.  What  is  the  shortest 
day  of  the  year? 

A.  What  is  the  long- 
est? 


B.  Nevada,  with  about 
eighty-one  thousand. 
B.  George  Washington. 

B.  Eight  years. 

B.  Two  terms  of  four 
years  each. 

B.  He  serves  for  six 
years. 

B.  His  term  is  for  only 
two  years. 

B.  The  executive,  the 
legislative  and  the  judi- 
cial. 

B.  For  life. 


B.  China,  with  a  popu- 
lation of  over  four  hundred 
million. 

B.  It  is  the  Republican 
form  of  government. 

B.  A  constitutional 
monarchy. 

B.  Usually  it  is  De- 
cember 21st. 

B.  June  21st. 


CONVERSATIONS  IGl 


Church 

47.  A.  Did  you  have  a  B.  Very    good,    bcttci 

good  sermon  to-day?  than  usual. 

A.  That's  saying  a  good  B.  I    wish    you    couH 

deal.  have  been  there. 

A.  What  was  the  text?  B.  "Thou     shalt     love 

thy  neighbor  as  thyself." 

A.  How    was    the    at-  B.  The  churcii  was  full, 
tendance? 

A.  In      spite      of      the  B.  Yes,  the  storm  hard- 
storm!  ly   seemed   to    make   any 

difference. 

A.  You  didn't  stay  to  13.  Yes,    I   did.      What 

Sunday  School?  made  you  think  I  didn't? 

A.  You're      home      so  B.  The      usual      time, 

early.  quarter  after  one. 

A.  Was      the      Sunday  B.  Not  quite,  but  very 

School   attendance  up  to  good  for  a  stormy  day. 
the  average  too? 

A.  How  was  your  class?  B.  Only  one  absent. 

A.  Wliat  is  the  Sunday  B.  Over  four  hundred. 

School  membership  now?  and  thirty  on  the  cradle 

roll. 

A.  Did  you  bring  home  B.  Yes,      here      it      is. 

a  church  calendar?  There    are    several    inter- 
esting things  this  week. 

A.  Why,   Dr.   Smith   is  B.  I    shall     go     surely 

going  to  speak  at  Wednes-  and  hope  you  will  be  able 

day    night    prayer    meet-  to  by  then- 
ing' 


162 


LIP-READING 


A.  So  do  I.     The  mis- 
sionary    meeting    comes 
Thursday  afternoon. 

A.  Will  you  take  me  to 
the  Men's  Club  concert 
Friday  evening? 

A.  All  the  others  have 
been  very  good. 


A.  That's  doing  splen- 
didly. It  was  only  one 
hundred  and  fifty  at  the 
beginning  of  the  year. 
Did  you  speak  to  Dr. 
Jones  after  service? 

A.  I'll  have  you  to 
thank  for  that. 

A.  There's  the  bell  now. 


B.  That  is  held  at  Mrs. 
Brown's,  and  she  is  so 
near  you  can  surely  go. 

B.  Indeed  I  will.  It  is 
the  last  one  of  the  season, 
and  they  say  it  will  be 
the  best. 

B.  Dr.  Jones  announced 
that  the  young  people's 
society  had  passed  the 
two  hundred  mark. 

B.  Just  for  a  minute. 
He  inquired  after  you. 
I  shouldn't  be  surprised 
if  you  received  some  of 
the  church  flowers  to- 
day. 

B.  No  more  me  than 
the  doctor. 

B.  And  the  flowers  too. 


Business 
48.  A.  How's  business? 


A.  What's  the  matter? 
Orders  falling  off? 

A.  What's  the  cause  of 
the  trouble ^ 


B.  It  hasn't  been  very 
good  the  past  year. 

B.  Yes,  badly.  And 
some  orders  cancelled. 

B.  Politics.  Too  much 
uncertaint^'^  about  the  tar- 
iff. 


CONVERSATIONS 


163 


A.  That's  hard  luck.  I 
suppose  things  will  pick 
up  after  election. 

A.  I  shouldn't  think 
that  would  pny. 

A.  Does  competition  af- 
fect you  very  much.'^ 

A.  Are  your  compet- 
itors faring  any  better 
than  you.f* 

A.  How  large  is  your 
force? 


A.  Nor  reduced  ^vages.'^ 


A.  That's  good.  I'm 
something  of  a  socialist 
you  know,  and  I  like  that. 

A.  You're  not  troubled 
much  with  strikes.'* 

A.  Do  you  have  any 
trouble  with  the  labor 
unions.'' 

A.  Well,  I  hope  things 
will  look  up  with  you 
pretty  soon. 

A.  Fine.  Never  so  good. 

A.  Yes,  the  tariff 
doesn't   affect   me. 


B.  We  certainly  hope 
so.  We  are  now  running 
at  an  actual  loss. 

B.  It's  better  than  shut- 
ting down. 

B.  Yes,  it  is  pretty 
keen. 

B.  No,  I  think  not. 
Business  is  poor  generally 
in  our  line. 

B.  Two  thousand.  We 
haven't  laid  off  any  hands 
yet. 

B.  No,  not  yet,  and 
hope  we  won't  have  to. 

B.  Well,  it's  our  policy, 
and  a  good  policy  too. 

B.  Haven't  had  a  strike 
for  fifteen  years. 

B.  No,  not  to  amount 
to  anything.  We  are  al- 
ways ready  to  talk  things 
over. 

B.  Thank  you.  And 
how's  business  with  you.'* 

B.  Your  business  is 
semi-professional. 

B.  What  was  your  in- 
crease last  year.'' 


164  LIP-READING 

A.  Gross  or  net?  B.  Both,    if    you    can 

tell  me. 

A.  The  gross  was  al-  B.  That's  a  big  in- 
most 33  per  cent.  crease. 

A.  It's  not  bad.  The  B.  That  is  certainly  a 
net  was  about  25  per  good  showing  in  a  bad 
cent.  year. 

A.  We  think  so.  B.  What  are  the  pros- 

pects? 

A.  Very  good,  but  al-  B.  Well,  I  wish  you 
ways  uncertain,  luck! 

Shopping 

49.  A.  Are  you  waited         B.  No,  I  am  not. 
on? 

A.  What  is  it  that  you  B.  First,  I  would  like 
want?  to  match  this  ribbon. 

A.  I'm  afraid   that  we         B.  Yes,    I    got    it    just 
haven't     any    like     that,     before  Christmas. 
Did  you  get  it  here? 

A.  This  piece  is  the  B.  That  will  not  do. 
same  shade  but  is  wider  It  must  be  the  same  width, 
than  yours. 

A.  I  have  no  more  of  B.  Then  I  shall  l.ave 
the  narrower.  to  try  to  match  it  some- 

where else. 

A.  Do  you  wish  to  buy  B.  Yes.  I  want  some 
some  veiling?  black  with  while  tlots. 

A.  How  is  this  kind?  B.  Those  dots   are  too 

close  together.     They  are 
bad  for  the  eyes. 


CONVERSATIONS 


1G5 


A.  Yes  they  are.  Here 
is  something  with  large 
dots  further  apart. 

A.  Yes,  here  is  one. 


A.  A  yard  and  a  quar- 
ter, I  should  say. 

A.  That  is  thirty-five 
cents. 

A.  This  is  an  unusual 
sale  of  suits  we  are  hav- 
ing. May  I  show  you 
some? 

A.  I'm  afraid  we  have 
not  the  mohair  hut  I  will 
show  you  the  serge. 

A.  Here  are  two  ex- 
ceptional values.  They 
have  been  reduced  from 
$40  to  $25. 

A.  Will  you  try  on  the 
gray  one? 

A.  With  very  little  al- 
teration that  will  fit  you 
to  perfection. 

A.  But  this  only  needs 
to  be  taken  up  on  the 
shoulders,  and  to  have  the 
sleeves  shortened. 


B.  That  is  better.  Have 
you  a  mirror?  I  want  to 
see  if  it  is  becoming. 

B.  That  looks  very  well. 
How  much  will  I  need  for 
this  hat? 

B.  Very  well.  How 
much  is  it  a  yard? 

B.  All  right.  I  will  jjut 
the  veil  on  now,  and  you 
may  charge  it. 

B.  I  would  like  to  see  a 
dark  blue  serge.  Size 
38.  And  also  a  blue  mo- 
hair. 

B.  You  might  show  me 
some  gray  suits  too  if  you 
have  an3^ 

B.  That  gray  one  is 
pretty  but  the  blue  is  too 
fancy.  I  want  a  plain 
tailored  suit. 

B.  Yes,  I  will  slip  tl;e 
coat  on. 

B.  I  don't  like  to  have 
my  coats  altered.  It  so 
often  spoils  the  shape. 

B.  Please  show  me 
some  others.  I  would 
rather  find  something  that 
fits  me  better. 


1G6 


LIP-READING 


A.  This  black  and  white 
is  pretty.    Try  it  on. 

A.  Yes.    And  that  is  a 
very  fine  suit. 

A.  Yes,    reduced    from 

$45. 

A.  I  will  slip  it  on  you. 


A.  No.    It  will  be  very 
easy. 

A.  They  will  be  three 
dollars. 

A.  What  is  the  address  .'^ 

A.  Thank  you.      Good 
morning. 


B,  Now  that  fits  very 
well.  Only  the  sleeves 
need  shortening. 

B.  Is  this  $25  too.? 

B.  I  will  try  on  the 
skirt  and  if  it  fits  I  will 
take  it. 

B.  It  is  just  a  trifle 
too  long,  but  it  won't  be 
much  to  shorten  it. 

B.  I  will  take  it.  How 
much  will  the  alterations 
be.^ 

B.  Very  well.  Charge 
and  send  it. 

B.  Mrs.  George  French, 
295  West  107th  Street. 

B.  Good  morning. 


At  the  Restaurant 
50.  A.  Let's    sit    over 


by  the  window. 

A.  Yes,   I  see   one 
rcctly  in  front  of  us. 


di- 


A.  I  think  I  will  have 
an  oyster  cocktail. 


B.  Is  there  a  vacant 
table  for  two? 

B.  This  is  very  nice  and 
cosy.  Now  what  shall 
wc  have  to  eat.  Some 
oysters? 

B.  Very  well,  I'll  have 
mine  on  the  half  shell. 


CONVERSATIONS 


1G7 


A.  They  always  have 
such  good  cream  of  celery 
soup  here. 

A.  Yes,  I  love  to  nibble 
on  them  between  courses. 

A.  I  don't  care  for  that. 
I  prefer  a  plain  beef  steak. 
There  is  nothing  like  it. 

A.  I'll  have  some  po- 
tatoes au  gratin  and  some 
asparagus  on  toast. 


A.  Don't       you 
Welsh  rabbits? 


like 


A.  Of  course  not.  I 
like  them  after  the  thea- 
tre. 

A.  I  never  have  it. 


A.  Yes,  I  will  have  some 
fillet  of  sole. 

A.  I'm  going  to  have 
some  endive  with  French 
dressing, 

A.  I  may  not  want  any, 
so  let's  order  that  later. 


B.  All  right.  We  will 
have  some.  And  let's  have 
some  olives  and  radishes 
on  the  side. 

B.  How  would  you  like 
some  beef  a  la  mode? 

B.  All  right.  Choose 
what  you  like.  We  must 
have  some  vegetables  too. 

B.  The  asparagus  suits 
me,  but  not  the  potatoes. 
I  hate  anything  with 
cheese  in  it. 

B.  No,  I  hate  them. 
You  don't  want  one  now, 
do  you? 

B.  Do  you  like  the 
nightmare  that  follows? 

B.  You're  lucky.  Why, 
we  never  ordered  any  fish 
course.  Don't  you  want 
some? 

B.  (To  waiter)  Bring  us 
some  sole  after  the  soup. 

B.  That  is  very  good, 
but  I  think  I'll  have  Wal- 
dorf Salad.  What  shall 
we  have  for  dessert? 

B.  That  is  a  good  plan. 


168 


LIP-READING 


A.  Ah,  here  is  my  cock- 
tail. 

A.  Delicious;  I  never 
tasted  better. 


A.  How    do    you    like 
the  celery  soup? 

A.  Yes,  they  are! 


A.  I  can't  stand  a 
gloomy  place  in  which  to 
eat. 

A.  Have  you  decided 
to  have  any  dessert.'* 


A.  I'm  going  to  have  a 
piece  of  strawberry  short- 
cake, and  then  some  cam- 
embert  cheese  with  crack- 
ers and  a  demi-tasse. 

A.  That's  true. 


B.  Is  it  a  good  one? 

B.  These  blue  points 
are  very  fine.  (To  waiter) 
You  did  not  bring  me 
any  horseradish. 

B.  It  is  excellent,  and 
aren't  these  radishes  crisp 
and  fresh? 

B.  This  dining-room  is 
very  bright  and  cheer- 
ful. 

B.  No,  food  doesn't 
taste  half  so  good  in  a 
dark,   unattractive   room. 

B.  No,  I  believe  I  will 
just  have  some  roque- 
fort  cheese  and  crackers 
and  a  cup  of  coffee  with 
my  salad. 

B.  We  must  have  a 
good  cigr.r  too,  or  our 
feast  won't  be  j)erfect. 


B.   (To   waiter)      Bring 
us  two  Havana  cigars. 


CONVERSATIONS 


169 


At    the    Reception 


51.  A.  How  do  you  do, 

Mrs.    Brown?      You    cer- 
tainly are  a  stranger. 

A.  You  were  very  for- 
tunate for  we  have  had 
such  a  trying  winter. 


A.  How 

band.'* 


IS    your 


hus- 


A.  He  is  quite  well 
now,  but  earlier  in  the 
winter  he  was  laid  up  with 
rheumatism. 

A.  Yes,  but  not  so  bad 
as  the  last  one.  Oh, 
there  is  Mrs.  Smith. 

A.  No.  I  think  she 
has  been  taking  a  flesh 
reducing  treatment. 

A.  Have  you  had  a  cup 
of  tea  or  an  ice? 


B.  I  have  just  returned 
from  Palm  Beach,  where 
I  went  to  escape  the  bit- 
ter weather. 

B.  Yes,  my  husband 
was  here  most  of  the  time 
and  he  said  it  was  the 
worst  weather  he  has  ever 
experienced. 

B.  Oh,  he  is  very  well, 
thank  you.  I  hope  that 
Mr.  Avery  is   too. 

B.  He  has  had  quite  a 
number  of  attacks,  has 
he  not? 

B.  So  it  is.  How  thin 
she  looks,  or  is  it  the  style 
of  gown  she  is  wearing 
that  makes  her  look  so? 

B.  I  never  had  much 
faith  in  that,  but  it  cer- 
tainly has  done  wonders 
for  her. 

B.  No,  I  haven't  been 
able  to  get  into  the  din- 
ing-room because  of  the 
crowd. 


170 


LIP-READING 


A.  I  am  almost  roasted. 
Do  let's  try  to  get  an  ice. 

A.  I  will  ask  that  waiter 
to  bring  us  each  one. 


A.  Yes,  it  is.  I  suppose 
that  you  have  lived  out- 
of-doors  at  Palm  Beach. 

A.  Do  you  play  Auction 
Bridge? 

A.  Nor  I.  In  fact  I 
don't  care  for  any  other 
card  game  at  all. 

A.  Oil,  nothing  in  par- 
ticular. I  have  attended 
the  opera  as  usual.  We 
have  had  some  very  bril- 
liant performances  this 
season. 

A.  We  have  had  some 
good  i)lays  too.  Have 
you  seen  "The  Return  of 
Peter  Grimm"  or  "The 
Garden  of  Allah".? 

A.  You  will  enjoy  that, 
I'm  sure.    Evervone  docs. 


A.  I    have    < 


m    engagc- 


B.  All  right. 


B.  I  hope  that  he  won't 
forget.  The  service  at 
large  receptions  is  usually 
so  poor. 

B.  Yes.  We  even 
played  Bridge  out  on  the 
porch. 

B.  Oh,  yes,  entirely.  I 
don't  care  for  straight 
Bridge  now. 

B.  It  does  spoil  one 
for  other  games.  What 
have  you  been  doing  with 
j^ourself  this  winter.'^ 

B.  I  certainly  missed  it 
wizilc  I  was  South.  So 
you  cannot  envy  me  en- 
tirely. You  had  that 
advantage. 

B.  I  saw  "The  Gar- 
den of  Allah"  last  night. 
It  is  a  wonderful  produc- 
tion. To-night  I  am  going 
to   see    "Disraeli." 

B.  Yes,  my  husband 
has  scon  it  twice  and  is 
going  again  with   mv. 

B.  Won't  vou  come  to 


CONVERSATIONS 


171 


ment  for  dinner  so  I  really     see  me?     You  know  I'm 
must  go.  always  at  home  on  Thurs- 

days. 
A.  Thank  you,    I  shall         B.  I  shall  expect  you. 
come   very   soon.      Good-     Good-bye. 
bye  for  now. 


52.  A,  Is  this  where  I 
ask  for  information  about 
Florida.^ 

A.  I  don't  know.  I 
want  to  find  out. 

A.  Is  it  a  very  rough 
trip? 

A.  Oh,  I  know  I  should 
be  sea  sick.  I  don't  want 
to  go  that  way. 

A.  What  railroads  are 
there.' 


A.  Which  is  the  best? 


A.  What  time  do  the 
trains  leave? 

A.  What  time  docs  it 
get  there? 


The  Journey 

B.  Yes, 


madam.  Do 
you  wish  to  go  to  Florida 
by  boat  or  rail? 

B.  The  trip  on  the 
water    is   very   delightful, 

B.  Sometimes  it  is 
rather  rough  off  Cape 
Ilatteras.^ 

B.  You  can  go  by  rail, 
very  comfortably  and 
quickly. 

B.  The  Seaboard  Air 
Line,  the  Southern  Rail- 
way, or  the  Atlantic  Coast 
Line. 

B.  You  can  make  your 
own  choice.  These  time 
tables  will  interest  you. 

B.  The  Iseaboard  Flor- 
ida Limited  at  11 :1G  a.  m. 

B.  Just  where  do  you 
wish  to  go? 


172 


LIP-READING 


A.  How  stupid  of  me 
to  forget  to  tell  you.  I 
want  to  go  to  Seabreeze. 


A.  How  about  the 
Southern  Railway.''  AVhat 
are  the  times  on  that.'* 

A.  Oh,  the  Seaboard 
is  quicker. 

A.  And  what  is  the 
rate.'* 

A.  Do  the  tickets  al- 
low me  any  stop-over 
privileges.'' 

A.  Is  the  rate  by  water 
any  less  than  by  rail.'* 


A.  Does  that  include 
meals? 

A.  Why,  that's  much 
less  expensive  than  by 
rail. 

A.  Can  you  tell  me 
wiiat  the  rates  are  at  the 
hotels.? 

A.  IIow  umch  by  the 
week? 


B.  Daytona  is  the  sta- 
tion for  Seabreeze.  The 
Seaboard  Limited  arrives 
there  at  3:51  p.  m.  the 
next  day. 

B.  Their  train  leaves 
New  York  at  12:38  noon 
and  arrives  8:14  p.  m. 
the  next  day. 

B.  Yes,  it's  a  famous 
train. 

B.  One  way  tickets  are 
$29.60,  round*^  trip  $57.35. 

B.  The  one  way  tickets 
do  not,  but  the  round  trip 
tickets  do,  up  to  May  31st. 

B.  Tickets  via  the  Sav- 
annah line  to  Savannah 
and  by  rail  to  Daytona 
are  $28.10  one  way,  or 
$49.90  round  trip. 

B.  Yes,  meals  and  berth 
on  the  steamer. 

B.  It's  a  very  pleasant 
trip. 

B.  From  $3.00  per  day 
up,  for  single  room  with- 
out bath. 

».  IVoni  $21.00  per 
week  up. 


CONVERSATIONS 


173 


A.  Is  that  American  or 
European  plan? 

A.  Well,  I  am  very- 
much  obliged  to  you.  Can 
you  make  the  reservations 
for  me? 

A.  Thank  you.  I  will 
be  in  again  tomorrow. 


B.  American  plan. 

B.  We  shall  be  glad  to, 
both  on  the  transporta- 
tion line  and  at  the  hotel. 

B.  We  shall  be  happy 
to  serve  you.     Good  day. 


SECTION  III 

LESSONS    ON    THE   IMOVEMENTS 

In  the  study  of  this  section,  follow  direc- 
tions in  Chapters  IX,  X,  and  XI,  and  in  the 
Outline,  pp.  93-100. 


Consonants  Revealed  by  Lips 

P,  b,  m — Lips-Shut 

53.  For  p,  as  in  "pie,"  b,  as  in  "by,"  and  iriy 
as  in  "my,"  the  lips  open  from  a  shut  position. 
This  shut  position  is  the  characteristic  that 
reveals  these  three  sounds.  It  is  the  same 
for  each  in  ordinary,  rapid  speech;  the  sounds 
must  be  told  one  from  the  other  by  the 
context. 

54.  Movement  Words 

peti — heap 
6ec — ec6 
2we — dee?7i 

174 


LESSONS  ON  THE  MO\TEMENTS     175 


55. 

Practise 

Words 

"'pea^ 

biV 

bought 

hum^ 

6ee^ 

bun^ 

weep 

harm 

me^ 

TTZUCP 

lie?/i 

oop 

pcV~ 

59art^ 

tap 

bird 

met- 

6arn^ 

lamb 

peep 

bni^ 

booV 

lip 

boom 

772  a  t^ 

moon'' 

Up^ 

biibe 

pit' 

book 

hub' 

pipe 

56.  Sentences 

1.  AYould  3'()ii  like  pea  soup  for  lunch?  2,  I 
never  met  you  before.  3.  Did  you  wipe  your 
shoes  on  the  mat?  4.  That  will  not  be  a  bit  of 
trouble.  5.  Did  you  have  a  bun  for  breakfast? 
6.  That  is  only  a  part  of  the  story.  7.  The  boot 
is  too  small  for  me.  8.  Have  vou  read  the 
book?  9. 1  bought  a  new  hat.  10.  Why  do  you 
weep?  11.  AYill  you  hem  the  handkerchief  for 
me?  12.  I  thought  I  heard  a  tap  at  the 
window.  13.  "Marv  had  a  little  lamb."  14. 1 
have  a  cold-sore  on  my  lip.  15.  AYill  you  go  up 
stairs  for  me?  IG.  That  will  not  do  you  any 
harm.  17.  AY  ill  you  loop  the  loop  with  me? 
18.  I  saw  you  peep  through  the  keyhole!  19. 
The  mother  held  the  babe  in  her  arms.     20. 

The  man  had  a  pipe  in  his  mouth. 

*Words  marked  with  the  same  numbers  look  alike  on  the  lips  and 
must  be  told  by  the  context. 


176  LIP-READING 

Extended  Vowels 

Long  e — Extended-N arroio 

57.  For  the  sound  of  long  c,  as  in  "keen," 
the  Hps  are  sHghtly  drawn  back,  or  extended, 
at  the  corners,  and  the  opening  between  the 
upper  and  lower  lips  is  narrow. 

5S, 


59. 


1 

Movement  Words 

pea- 

—  leap 

hee- 

-eeb 

me— 

-deem 

Practise  Words 

hee 

theme 

eve^ 

peaP 

ice 

le«f 

heave ^ 

meaP 

we 

deep- 

fear* 

beet*' 

reap 

team- 

piece 

meet^ 

seam. 

yteld 

peach ^ 

peat^ 

sheep  ^ 

keep 

beach ^ 

beak^ 

cheap  ^ 

heap 

teeth 

meek^ 

00.  Sentences 

1 .  I  was  stung  by  a  bee  or  a  wasp.    2.  AYhat 
fee  does  the  doctor  charge?    3.  AVhat  shall  we 

*  Before  r,  long  e  often   has  relaxed   instead   of   extended   lips, 
especially  if  the  r  is  strong. 


LESSONS  ON  THE  MOVEMENTS     177 

do?  4.  Whatsoever  a  man  sows,  that  shall 
he  also  reap.  5.  Will  j'ou  sew  this  seam  for 
me?  6.  "Little  Bo-Peep  lost  her  sheep." 
7.  What  is  the  theme  of  the  story?  8.  You 
must  turn  over  a  new  leaf.  9.  The  river  is  very 
deep.  10.  I  hope  I  shall  not  have  to  yield. 
11.  Can  you  keep  a  secret?  12.  The  children 
are  playing  in  the  sand  heap.  13.  We  will  hang 
up  our  stockings  on  Christmas  Eve.  14.  You 
have  nothing  to  fear.  15.  Will  you  have  a 
piece  of  pie?  16.  I  would  like  some  peach  pie. 
17.  The  baby  has  four  teeth.  18.  Did  you  hear 
that  peal  of  thunder?  19.  Where  shall  I  meet 
you?    20.  The  bird  has  a  very  long  beak. 


Short  e — Extended-Medium 

61.  For  the  sound  of  short  e,  as  in  "  get,"  the 
lips  are  slightly  extended  at  the  corners,  and 
the  opening  between  the  lips  is  neither  nar- 
row, nor  wide,  but  is  medium.  The  a,  as  in 
"care,"  has  also  this  extended-medium  move- 
ment. 

03.  Movement  Words 

peat,  pet — heap,  hrp 
beet,  hei — eeb,  chh 
meet,  met — team,  hem 


178  LIP-READING 

63.  Contrast  Words 

Contrast    the    extended-?7ze^zwTO    (short    e) 

with  the  extended-/? arroif;  (long  e) ;  notice  that 

the  lips  are  more  open  for  short  e  than  for 

long  e. 

dell — deal  fed — feed 

bed — bead  red — reed 

said — seed  well — wheel 


G4. 

Practise  Words 

bell 

them 

ebb 

smelP 

fell 

left 

theft 

spelP 

well 

tell  2 

there  ^ 

wet^ 

rest 

delP 

their  ^ 

when^ 

selP 

yell 

yes 

beg 

cell^ 

kept 

wedge 

pare  ^ 

shell 

help 

brefith 

bear^ 

65. 

Sentences 

1.  I  rang  the  door  bell  twice.  2.  I  fell  down 
the  stairs.  3.  Are  you  feeling  well  to-day? 
4.  I  think  I  shall  rest  for  awliile.  5.  AYhatwill 
YOU  sell  the  horse  for.^  (5.  I  found  the  shell  on 
the  beach.  7.  Do  you  know  them  very  well.^ 
8.  I  left  my  umbrella  at  home.  9.  Don't  tell 
anyone.  10.  Do  you  know  the  college  yell.'^ 
11.  I  kept  very  quiet  about  it.     12.     Let  me 


LESSONS  ON  THE  MOVEMENTS     179 

know  if  I  can  help  you.  13.  AVhen  does  the 
tide  begin  to  ebb.^  14.  I  reported  the  theft 
to  the  poHce.  15.  There  you  are!  16.  Did 
you  say  yes  or  no?  17.  Don't  try  to  wedge 
your  way  through  the  crowd.  18.  I  smell  the 
breath  of  the  pine  woods.  19.  How  do  you 
spell  your  name.^  20.  The  weather  has  been 
very  wet.  21.  I  beg  your  pardon.  22.  Will 
you  pare  the  apple  for  me.'^ 


Short  a — Extended-Wide 

G6.  For  the  sound  of  short  a,  as  in  "cat,'* 
the  lips  are  slightly  extended  at  the  corners, 
and  the  opening  between  the  lips  is  the  widest 
of  the  extended  vowels. 

G7.  Movement  Words 

peat,  pet,  pat — heap,  hep,  hap 
beet,  bet,  bat — eeb,  ebb,  ab 
meet,   met,   mat — team,   hem,   ham 

G8.  Contrast  Words 

Contrast  the  cxiQudGd-ioide  (short  a)  with 
the  QxiQiided-medimn  (short  e);  notice  that 
the  lips  are  open  more  for  short  a  than  for 
short  e. 


180  LIP-READING 


lad- 

-led 

shad- 

— shed 

sad- 

-said 

tan— 

-ten 

bad- 

-bed 

fan— 

-fen 

69. 

Practise  Words 

bad^ 

sap 

yam 

pal 

pad^ 

sham^ 

cap^ 

hat^ 

mad^ 

jam^ 

cab^ 

hand^ 

nian^ 

that 

lam 

back^ 

iaV 

lap^ 

have 

bag*^ 

fan  2 

lamp'' 

has 

bank^ 

whack 

tap^ 

hash 

map 

rap 

tab  5 

hath 

stamp 

70.  Sentences 

1.  The  weather  has  been  very  bad.  2.  "A 
man's  a  man  for  a'  that."  3.  "Jack  Sprat 
could  eat  no  fat."  4.  The  wave  struck  the 
boat  with  a  loud  whack.  5.  Bid  j^ou  rap  on 
thedoor.^  6.  The  tree  is  full  of  sap.  7.  AYould 
you  like  some  strawberry  jam.'^  8.  That  is  all 
right.  9.  AYill  you  put  the  lamp  in  the  win- 
dow? 10.  I  heard  a  tap  at  the  window.  11. 
Do  you  like  corned  })eef  hash?  12.  The  wind 
blew  my  cap  overboard.  13.  ^Yould  you  like 
ham  for  dinner?  1 4.  Have  you  ever  heard  that 
before?      15.  The    thief's    pal    was    arrested. 


LESSONS  ON  THE  MOVEMENTS     181 

16.  Take  off  your  hat  and  stay  awhile.  17.  A 
bird  in  the  hand  is  worth  two  in  the  bush. 
18.  ^Yhat  time  will  you  be  back.^  19.  There 
is  a  map  of  the  world  hanging  on  the  wall. 
20.  Don't  forget  to  put  a  stamp  on  my 
letter.  

Consonants  Revealed  by  the  Lips — (con- 
tinued) 

F,  V — Lip-to-Teeth 

71.  For/,  as  in  "few,"  and  v,  as  in  "view," 
the  center  of  the  lower  lip  touches  the  upper 
teeth. 

12*  Movement  Words 

pea,  fee — heap,  eve 
pen, /en — ebb,  e^ 
bat,  vat — hap,  haz?e 


73. 

Practise 

Words 

fee 

fun 

ck/ 

roo/ 

fed 

/arm 

hare 

off 

/at^ 

food 

clijf 

cough 

/ani 

foot 

loi'e^ 

serre^ 

t;at^ 

/awn  2 

lu/3 

sur/-* 

27an^ 

/ought 2 

carre 

five^ 

/ib  leave  hoo/  fife' 


182  LIP-READING 

74.  Sentences 

1.  Have  you  paid  the  doctor's  fee?  2.  Have 
you  fed  the  chickens  this  morning?  3.  The  fat 
is  in  the  fire.  4.  Did  you  ever  tell  a  fib? 
5.  What  fun  we  shall  have!  6.  Did  you  ever 
live  on  a  farm?  7.  The  food  on  the  farm  was 
plain  but  well  cooked.  8.  She  has  a  very 
small  foot.  9.  I  saw  a  doe  with  her  fawn  at 
the  Zoo.  10.  I  shall  leave  you  for  an  hour. 
11.  The  music  was  pitched  in  treble  clef .  12. 
What  will  you  have?  13.  The  cliff  is  one 
hundred  feet  high.  14.  "  'Tis  love  that  makes 
the  world  go  round."  15.  Will  yow  carve  the 
roast  beef?  16.  The  horse  has  a  pebble  in  his 
hoof.  17.  There  is  a  leak  in  the  roof.  18. 1  am  off 
for  my  vacation.  19. 1  heard  you  cough  last 
night.  20.  Are  you  going  bathing  in  the  surf? 
21.  It  is  almost  five  o'clock. 


Wh,  w — Puckered- Variable 

75.  For  7rh,  as  in  "what,"  and  w,  as  in 
"wet,"  the  lips  arc  drawn  together  or  puck- 
ered; the  degree  of  the  puckering  is  variable^ 
being  greater  in  slow  and  careful  speech,  and 
less  in  r;ipi<l  colloquial  utterance.  The  con- 
sonants 2vk  and  w  occur  onl^^  beforo  vowels. 


LESSONS  ON  THE  MOVEMENTS      183 

76.  Movement  Words 

pea,  fee,  wee 
pen,  fen,  wlien 
pack,  fag,  2t7iack 

7t.  Practise  Words 

?reave  ?r/np-  whut  wave^ 

whsick^         won^  ?^hk)I  zripe 

icag^  one^  (=wun)  whavi  wove 

78.  Sentences 

1.  I  saw  them  weave  the  cloth  in  the  loom. 
2.  I  saw  the  spider  weave  his  web  across  the 
door.  3.  Did  you  ever  see  the  tail  wag  the 
dog?  4.  Don't  use  the  whip  on  that  horse. 
5.  Who  won  the  boat  race?  6.  What  do  you 
want?  7.  The  woof  of  the  cloth  is  very  fine. 
8.  The  cloth  is  all  wool.  9.  The  ship  is  at  the 
Avharf.  10.  An  immense  wave  broke  over  the 
ship.  11.  Wipe  your  hands  on  the  towel  by 
the  door.  12.  The  spider  wove  a  web  across 
the  window. 

Relaxed  Vowels 
Short  I — Relaxed-N arroio 

79.  For  the  sound  of  short  i,  as  in  "pit," 
the  lijjs  have  the  natural  or  relaxed  movement. 


N 


184  LIP-READING 

and  the  opening  between  the  upper  and  lower 
lips  is  narrow. 

80.  Movement  Words 

peat,  p/t — heap,  h/p 
feet,  fit — eve,  ii 
wheat,  Wit 

81.  Contrast  Words 

Contrast  the  relaxed-nnvYOw  (short  ?)  with 
the  extended-narrow  (long  (");  notice  the  dif- 
ference between  relaxed  and  extended  lips: 

if — eve  fill — feel 

biff — beef  whip — weep 


82. 

Practise 

Words 

piW' 

sip 

hz*p^ 

sp?'ll 

b/IP 

slifp^ 

hmr^ 

spm 

mzlP 

chip^ 

wh/ff 

pick' 

f/11 

this 

m?ss 

pmk^ 

w/11 

live 

wrsh^ 

p?g^ 

r/p- 

tip' 

wh/ch'^ 

big' 

Tih' 

dip' 

w?tch*5 

inink 

rim  2 

g/vc 

w/th 

8.3.  Sentences 

1.  Did  you  take  your  ])ill  after  lunch? 
2.  Tli.il  will  fill  the  bill.  ,S.  Where  there's  ji  will, 
there's  a  way.    4.  How  did  you  rip  your  sleeve? 


LESSONS  ON  THE  MOVEMENTS     185 

5.  You  should  sip  tlie  water  and  not  drink  it 
too  fast.  G.  Are  you  waiting  for  your  ship  to 
come  in?  7.  This  will  be  perfecth'  satisfactory. 
8.  Howlong  would  you  like  to  live.^  9,  Would 
3'ou  like  a  dip  in  the  ocean  this  morning.^  10. 
I  will  give  you  the  best  of  everything.  11.  Do 
you  know  him  very  well?  12.  I  smell  a  whiff 
of  smoke.  13.  A  miss  is  as  good  as  a  mile. 
14.  What  do  you  wish  for  most  of  all?  15. 
Will  you  take  a  walk  with  me?  IG.  Don't 
spill  the  water  out  of  the  pail.  17.  Can  you 
spin  a  top?  18.  Did  you  ever  pick  black- 
berries? 


Short  u — Relaxed-Medium 

84.  For  the  sound  of  short  li,  as  in  "but,'* 
the  lips  are  relaxed,  and  the  opening  between 
the  upper  and  lower  lips  is  neither  narrow  nor 
wide,  but  is  medium. 

S5,  Movement  Words 

bit,  hut — hip,  \\uh 
fin,  inn — if,  hwff 
win,  won 

bet,  hut — ebb,  huh 
fen,  f?m — eff,  hwff 
when,  won 


186 


LIP-READING 


86.  Contrast  Words 

Contrast  the  Telaxed-medmm  (short  u) 
with  the  relaxed-?? ar?-02^  (short  i) ;  notice  that 
the  hps  are  more  open  for  short  u  than  for 
short  i. 

rub — rib  love — live 

sun — sin  tuck — tick 

87.  Also  contrast  the  relaxed-Taedium.  (short 
ii)  with  the  extended-Wiedmvn.  (short  e) ;  notice 
the  difference  between  relaxed  and  extended 
lips. 

dull — dell  lug — leg 

rust — rest  just — jest 


88. 

rractise 

Words 

pu\)'^ 

siim^ 

young 

muchJ 

pi^mp^ 

some^ 

cup^ 

doth 

bz/mp^ 

sh?m^ 

come^ 

dz/11 

iudga 

shz/t" 

h7dl 

r?/t^ 

won 

tln/mb 

?/p 

r?/n^ 

rz/b^ 

love 

glove 

Iwck^ 

rwm^ 

to?/gh^ 

?/s 

h/ng^ 

S7/p' 

(\0\Q^ 

mwsh^ 

lug' 

81).  Sentences 

1.  Will  you  bring  nie  some  water  from  the 
pump?    2.  I  have  nuuh^  sodi<^.  chocolate  fudge 


LESSONS  ON  THE  MOVEMENTS      187 

for  you.    3.  Do  you  know  who  won  the  race? 

4.  Rub  your  hands  together  to  get  them  warm. 

5.  I  will  sup  with  you  some  other  time. 
G.  Will  you  please  shut  the  window  for  me.^ 
7.  "He  put  in  his  thumb  and  pulled  out  a 
plum."  8.  All  is  fair  in  love  and  war.  9.  The 
steak  was  very  tough.  10.  We  are  young  only 
once  in  our  lives.  11.  Will  you  have  a  cup  of 
coffee.^  12.  The  ship's  hull  was  covered  with 
barnacles.      13.  Shall   we  walk  up   the  hill.^ 

14.  Will  you   mend   the   hole   in   my  glove  .'^ 

15.  You  must  tell  us  all  about  it.  16.  How 
much  do  you  want?  17.  "How  doth  the  little 
busy  bee  improve  each  shining  hour?"  18.  The 
knife  is  very  dull.  19.  You  will  have  to  run 
for  the  car.  20.  What  luck  did  you  have 
fishing? 

A  h — Relaxed-Wide 

90.  For  the  sound  of  ah,  as  in  "cart,"  the 
lips  are  relaxed  and  the  opening  between  the 
lips  is  the  widest  of  the  relaxed  vowels. 

91.  Movement  Words 

bid,  bud,  hard — hip,  hub,  harp 
fin,  fun,  far — give,  cuff,  carve 

bad,  bard — ham,  harm 
fat,  far — have,  carve 


188  LIP-READING 

92.  Practise   Words 

part^  tar  scarf  march^ 

barn^  calm  far  hearth 

farm  yard  parse  ^  cart^ 

psalm  harm  bars^  card^ 

sharp  palm  2  Mars^  park® 

lark  balm  2  marsh  ^  bark® 

93.  Sentences 

1.  Did   you   put   the   horse   in   the   barn? 

2.  How  far  is  the  farm   from   the  railroad? 

3.  Do    you    know    the    twenty-third    psalm? 

4.  The  knife  is  not  very  sharp.  5.  I  saw  a  lark 
in  the  sky.  6.  The  house  has  a  tar  roof.  7. 
The  children  are  playing  in  the  yard.  8.  The 
ocean  is  very  calm  this  morning.  9.  There 
will  be  no  harm  in  that.  10.  Where  does  the 
palm  tree  grow?  11.  I  wore  the  scarf  around 
my  neck.  12.  How  far  shall  I  walk  with  you? 
13.  Can  you  parse  the  sentence?  14.  AViil 
you   play  the  march   on   the  piano  for  me? 

15.  Will  you  sweep  the  ashes  from  the  hearth? 

16.  I  forgot  my  calling  card.  17.  I  am 
going  for  a  walk  in  the  park. 


LESSONS  ON  THE  M0VE:MENTS     1S9 

Consonants  Revealtcd  by  Lips 
(continued) 

R  {Before  a  Vowel) — Puckered-Corners 

94.  For  r,  as  in  "reef,"  before  a  vowel, 
the  Jips  show  a  drawing  together  or  prwlrr- 
ing  at  the  corners.  (After  a  vovrel,  as  in  "  arm," 
r  tends  to  be  slurred  and  will  commonlv  show 
no  movement  whatever;  though  if  more  care- 
fully pronounced  it  may  show  a  slight  pucker- 
ing at  the  corners.) 

95.  Movement  Words 

feed,  weed,  reed 
fed,  wed,  red 
fag,  wag,  rag 
fin,   win,   rid 
fun,  won,  run 
far,  what,  rah 

96.  Contrast  Words 

Contrast  the  puckered-corners  movement 
for  r  wdth  the  puckered-variable  movement  for 
ivh  and  w;  notice  the  slightly  larger  mouth 
opening  for  r  and  the  greater  degree  of  pucker- 
ing for  ich  and  iv. 

reap — weep        rip — whip 

rest — west  rim — won 

rack — whack 


190  LIP-READING 


97. 

Practise 

Words 

reap^ 

rap^ 

ruff^ 

rope 

ream^ 

wrap^ 

route 

ripe 

red2 

rich* 

room 

free 

wren  2 

ridge'' 

rook 

brief 

ram^ 

rough ^ 

raw 

brow 

98.  Sentences 

I.  I  bought  a  ream  of  paper.  2.  "Three 
cheers  for  the  red,  white  and  bhie."  3.  The 
wrap  was  not  warm  enough.  4.  The  soil  on 
the  farm  is  very  rich.  5.  The  ocean  is  very 
rough  this  morning.  6.  What  route  will  you 
take  when  you  go  West?  7.  There  is  always 
room  for  one  more.  8.  The  rook  builds  his 
nest  in  the  top  of  a  tree.  9.  The  weather  was 
cold  and  raw.  10.  Give  him  enough  rope  and  he 
will  hang  himself.  11.  Cherries  are  ripe!  12.  We 
are  a  free  people.  13.  My  time  is  very  brief. 
14.  "His  brow  is  wet  with  honest  sweat." 


S,  z — Tremor-at-Corners 

90.  For  s,  as  in  "saw,"  and  z,  as  in  "zone," 
the  muscles  just  o?//5?V/6' the  corners  of  the  mouth 
are  drawn  or  tightened,  causing  a  slight  tremu- 
lous movement  there.     This  movement  is.  at 


LESSONS  ON  THE  MOVEMENTS     191 

first,  hard  to  see,  but  once  thoroughly  learned 
it  becomes  comparatively  easy.  An  additional 
help  will  be  found  in  that  the  teeth  are  very 
close  together,  closer  than  for  any  other  sound. 
The  movement  on  the  whole  is  similar  to  that 
for  long  e,  extended-narrow;  but  it  is  rarely 
confused  with  the  c  movement,  for  e  is  a  vowel 
and  s  and  z  are  consonants.  (Soft  c,  as  in 
*' peace,"  has  the  sound  of  s.) 

100.  Movement  Words 

weed,    reed,    5eed, 
wed,  red,  ^aid 
wag,  rag,  sag 
win,  rid,  ^in 
won,   run,   ^un 
what,  rah,  6ard 


101. 


Practise  Words 


5eam^ 

5on^ 

bees'* 

puss 

5eem^ 

5un^ 

dress 

pause^ 

5aid"^ 

starve 

as^ 

paws*' 

seV~ 

soup 

has* 

pace 

SGWi"^ 

soon 

this 

mice 

cent2 

saw 

fuss 

pose 

5ash 

peace'' 

farce 

cows 

^ieve 

piece ^ 

moose 

boys 

192  LIP-READING 

103.  Sentences 

1.  You  seem  very  mucli  better  this  morning. 
2.  I  don't  know  what  you  said.  3.  The  girl 
v.ore  a  blue  sash.  4.  You  cannot  carry  water 
in  a  sieve.  5.  What  time  does  the  sun  set.^ 
6.  Never  let  a  hungiy  man  starve.  7.  What 
kind  of  soup  would  you  like  for  dinner.^  8.  I 
saw  you  on  the  car  last  week.  9.  "Let  us  have 
peace!"  10.  Your  new  dress  is  very  becom- 
ing. 11.  Handsome  is  as  handsome  does. 
12.  This  is  just  what  I  want.  13.  Don't  make 
so  much  fuss  over  nothing.  14.  The  play 
was  a  very  clever  farce.  15.  I  saw  the  moose 
tome  out  of  the  woods.  IG.  Did  you  ever 
read  "  Puss  in  Boots.^ "  17.  There  was  a  pause 
in  the  conversation.  18.  I  can  hardly  keep 
pace  with  you.  19.  When  the  cat  is  away, 
the  mice  will  play.  20.  Did  you  pose  for  the 
picture.  21.  "The  sheep  are  in  the  meadow, 
the  cows  are  in  the  corn."  22.  Boys  will  be  boys. 


^'^,  zh,  ch,  j — Lips-Projcctcd 
103.  For  .s7/,  as  in  "sham,"  zh  (the  z  in 
"azure  "  has  the  sound  of  zh),  ch,  as  in  "chap," 
and  j,  as  in  "jam,"  the  lips  are  thrust  forward 
or  ])7'()jccfc(L  (Soft  g,  as  in  "ledge,"  has  the 
scjund  of  j.) 


LESSONS  ON  THE  MOM^MENTS     193 

104.  Movement  Words 
reed,  seat,  sheet — ease,  eac/i 
red,  said,  shed — ess,  edge 
rag,  sag,  shag — has,  hash 
rid,  sin,  shin — is,  itch 

run,  sun,  shnn — us,  \\\\sh 
rah,  sard,  shiird — ars,  axch 

105.  Contrast  Words 

Contrast  this  lips-projected  movement  {sh, 
zh,  ch,  j)  with  the  puckered-corners  movement 
(r);  notice  that  though  the  lips  project  for 
both  movements  the  projection  is  less  for  r; 
and  also  notice  that  for  r  the  corners  of  the 
mouth  are  more  drawn. 

sheep — reap  chip — rip 

shed — red  shove — ruff 

jam — ram  shy — rye 

lOG.  Contrast  also  the  lips-i)rojectcd  move- 
ment {sh,  zh,  ch,  j)  with  the  trcmor-at-corners 
movement  {s,  z);  notice  that  the  teeth  are 
close  together  for  both  movements,  but  that 
the  lips  are  projected  for  sh,  zh,  ch,  and  ^7,  while 
for  s  and  z  the  lips  are  rather  flattened. 

sheep — seem  peach — peace 

jam — sap  dredge — dress 

chin — sin  mush — muss 


194 


LIP-READING 


107. 

Practise  Words 

sheeV 

shooV 

mash^ 

douche 

cheat^ 

chute^ 

hadge^ 

hush 

shed 

June^ 

patch"" 

porch 

shnit 

shook. 

pincJi^ 

merge^ 

chiW 

jaw 

pitch^ 

perch^ 

jump 

reac/i 

rush 

hirch^ 

sharp- 

e^^e'' 

arc/i^ 

page 

c/iarm- 

eich^ 

harsh'' 

poach 

108.  Sentences 

1.  The  man  will  cheat  you  if  he  can.  2.  I 
tied  the  horse  in  the  wagon  shed.  3.  The  horse 
fell  and  broke  a  shaft.  4.  There  is  a  chill  in 
the  air  to-night.  5.  The  noise  made  me  jump. 
6.  I  wore  the  watch  charm  on  my  fob.  7.  I 
sp.w  a  star  shoot  across  the  sky.  8.  "What  is 
so  rare  as  a  day  in  June!"  9.  The  tempest 
shook  the  house.  10.  You  have  a  very  firm  jaw. 
11.  Can  you  reach  that  book  for  me?  12.  Don't 
sit  on  the  edge  of  your  chair.  13.  The  man  had 
a,  patch  on  his  trousers.  14.  Who  is  going  to 
pitch  in  the  baseball  game  to-day?  1.5.  I  am  in 
a  rush  to  catch  the  train.  IC).  The  rainbow 
made  an  arch  in  the  sky.  17.  Did  you  use  a 
douche  for  your  cold?  18.  Don't  beat  about  the 


LESSONS  ON  THE  MOVEMENTS     195 

bush.    19.  We  sat  out  on  the  porch  last  even- 
ing.    20.  Did  you  ever  go  fishing  for  perch? 

21.  ^Yill  you  find  the  page  for  me  in  the  book? 

22.  Would  you  Hke  to  have  me  poach  the 

PCPCT? 


Puckered  Vowels 
Long  do — Puckered-N arrow 

109.  For  the  sound  of  long  oo,  as  in  "coon," 
the  lips  are  drawn  together  or  puckered,  and 
the  opening  between  the  upper  and  lower  lips 
is  very  narrow.  (Long  6d,  being  a  vowel,  is 
seldom  confused  with  wh  and  w,  which  are 
consonants.  Example:  though  oo,  in  "moon," 
looks  much  like  w,  it  could  not  be  mistaken; 
for  mwn,  substituting  w  for  oo,  does  not  make 
a  word.) 

110.  Movement  Words 

beet,  bit,  boot — heap,  hip,  whom 
feet,  fit,    food — eve,  if,  hoof 
wheat,  wit,  wooed 
read,  rid,  rude 
seen,     sin,     soon — ease,  is,  ooze 
sheen,  shin,  shoe — teach,  dish,  doi^che 


196 


LIP-READING 


111. 

Practise 

Words 

pool 

shoe 

you 

whose 

fool 

loop^ 

coop 

tooth 

woo 

loom^ 

who 

spool 

rwle 

tomb  2 

whom 

spoon 

soothe 

dooni- 

hoof 

spook 

112.  Sentences 

1.  I  went  swimming  in  the  pool.  2.  A  fool 
and  his  money  are  soon  parted.  3.  The  music 
may  woo  you  to  sleep.  4.  Do  you  live  by  the 
golden  rule.'^  5.  Will  you  tell  me  what  will 
soothe  the  pain  in  my  tooth .'^  6.  "For  want 
of  a  nail  the  shoe  was  lost."  7.  Did  you 
weave  the  cloth  at  the  loom.^^  8.  Have  you 
seen  the  tomb  of  Washington  at  Mt.  Vernon.'^ 
9.  The  chicken  "flew  the  coop."  10.  Who 
are  you.'^  11.  Whom  do  you  wish  to  see? 
12.  The  donkey  has  a  small  hoof.  13.  Whose 
house  is  this.^^  14.  The  baby  has  a  tooth! 
15.  I  bought  a  spool  of  thread.  16.  "The 
dish  ran  away  with  the  spoon."  17.  Did  you 
ever  see  a  spook  .'^ 


Sliort  00 — Puckered-Medium 

113.  For  the  sound  of  short  do,  as  in  "good," 
the  lips  are  puckered,  and  the  opening  between 


LESSONS  ON  THE  MOVEMENTS     197 

the  upper  and  lower  lips  is  neither  narrow 
nor  wide,  but  is  medium. 


114.  Movement  Words 

boot,  book 

food,  foot 

wooed,  wood 

rude,  rook 
soon,  sook — booze,  puss 
shoot,  shook — pwsh 

bet,   but,   put 

fen,   fun,   foot 

wen,  won,  wood 

reck,  rug,  rook 
set,     sun,     sook — Bess,   bus,  pwss 
shed,  shun,  shook — mesh,  mush,  push. 

115.  Contrast  Words 

Contrast  the  puckercd-v ledium  (short  o6) 
with  the  puckered-7?orro?r  (long  oo);  notice 
the  greater  degree  of  puckering  for  long  oo. 

foot — food  pull — pool 

put — boot  full — fool 

wood — wooed  good — coot 


198  LIP-READING 

116.  Also  contrast  the  'puckered-medium. 
(short  06)  with  the  relaxed-medium.  (short  ?/); 
notice  the  difference  between  the  puckered 
and  relaxed  lips. 

foot — fun  wood — won 

put — but  good — gun 


117. 

Practise 

Words 

p?dli 

rook 

cook 

wool 

b?/lP 

soot* 

hook 

put 

f»ll 

shook 

puss 

book 

wood  2 

look 

pwsh^ 

wolf 

woukP 

took 

bi/sh^ 

sho?/ld 

118.  Sentences 

1.  A  long  pull,  a  strong  pull,  and  a  pull 
all  together.  2.  The  barrel  is  full  of  rain  water. 
3.  I  would  not  if  I  could.  4.  My  hands  are 
blackened  with  soot  from  the  stove.  5. 1  shook 
the  bottle  before  I  took  the  medicine.  6.  Look 
out  of  the  window!  7.  You  took  a  great  deal 
of  trouble  for  me.  8.  Too  many  cooks  spoil 
the  broth.  9.  Lil  do  it  b}'  hook  or  by  crook. 
10.  "Pussy  cat,  pussy  cat,  ^\Ilere  have  you 
been.^"  11.  Will  you  push  the  door  open  for 
me.^      12.  The   sheep's   wool   is   very   heavy^ 

*  The  00  ia  "  soot "  is  usually  short,  but  may  be  long. 


LESSONS  ON  THE  MOVEMENTS     199 

13.  Don't  put  yourself  to  too  much  trouble. 

14.  What  book  are  you  reading?  15.  The 
wolf  is  at  the  door.  IG.  I  should  have  knovv^n 
better ! 


A2V,  o  in  '"Orb" — Piichered-Wide 

110.  For  the  sounds  of  aiD,  as  in  "cawed," 
and  of  the  o,  in  "orb,"  the  lips  are  slightly 
puckered,  and  the  opening  between  the  lips 
is  the  widest  of  the  puckered  vowels. 

130.  Movement  Words 

boot,  put,  pa?^'n — whom,  orb 
food,  foot,  fawn — hoof,  cowgh 
wooed,  wood,  walk 
rude,  rook,  raw 
soon,  sook,  so?/ght — booze,  puss,  pawse 
shoot,  shook,  short — push,  porch 

pat,  part,  paz^n — hap,  arm,  orb 
fat,  far,  fawn — gaff,  carve,  cowgh 
whack,  what,  walk 
rack,  rah,  rai^ 
sad,  sard,  so?/ght — as,  ars,  a?res 
shad,  shard,  short — patch,  parch,  porch 


200  LIP-READING 

121.  Contrast  Words 

Contrast  the  puchered-\\\dQ,  for  o,  as  in 
**orb,"  with  the  relaxed-v^'ide,  for  ah;  notice 
the  difference  between  puckered  and  relaxed 
lips. 

for — far  born — bard 

form — farm  orb — arm 


122. 

Practise  Words 

pa?i?ni 

thoz/ght 

hall 

balP 

bow  gilt  ^ 

\aiLm 

orb 

baw'P 

form 

tawght^ 

wharf 

mau\^ 

warm 

lauV 

ga?/ze 

02/ght^ 

Taio 

daion'^ 

torch 

aiik^ 

soifght 

yaivn 

wroth 

hawk^ 

short 

caught 

palp 

123.  Sentences 

1.  The  thief  took  my  watch  to  the  pawn- 
broker. 2.  It  is  not  good  form  to  eat  with  a 
knife.  3.  AYe  have  had  a  very  warm  summer. 
4.  The  weather  was  xevy  cold  and  raw.  5.  I 
sought  3'ou  everywhere  before  I  found  you. 
(1.  That  isthelongand  theshortofit.  7.  Inever 
thought  of  that  before.  8.  The  lawn  ought  to 
be  mowed.    0.  I  arose  at  dawn  this  morning. 


LESSONS  ON  THE  MOVEMENTS    201 

10.  What  makes  you  yawn  so?  11.  I  caught 
you  that  time.  12.  The  house  has  a  large  hall. 
13.  The  moon  is  the  orb  of  night.  14.  The 
ship  is  at  the  wharf.  15.  Have  you  enough 
gauze  for  the  bandages?  IG.  Did  you  ever  see 
a  torch-light  parade?  17.  That  makes  me 
wroth!  18.  Are  you  going  to  the  ball  game? 
19.  You  ought  not  to  do  that.  20.  Why  do 
you  watch  me  like  a  hawk? 


Consonants  Revealed  by  Tongue 
Th — Tongue-to-Tecth 

134.  For  th,  as  in  "thin,"  and  "then," 
the  point  of  the  tongnc  shows  either  between 
the  teeth  or  just  behind  the  upper  teeth. 

135.  Movemeid  Words 

see,  she,  thee — tease,  teach,  tec//i 
said,  shed,  then — ess,  edge,  eth 
sad,  shad,  thai — has,  hash,  \mth 
sin,  shin,  thin — miss,  midge,  myth 
suck,  shuck,  thug — us,  hush,  doth 

ars,  arch,  liear//i 

noose,  douche,  too//i 

sort,  short,  /bought 


202  LIP-READING 


126o 

Practise 

Words 

thief 

thiunp" 

hath 

north 

then 

thumh- 

pith^ 

three 

than' 

thaw 

myth^ 

thrive 

that' 

teeth 

hearth 

worth 

thin 

breath 

booth 

mth 

137=  Sentences 

1.  Procrastination  is  the  thief  of  time. 
2.  Something  is  better  than  nothing.  3.  The 
horse  is  as  thin  as  a  rail.  4.  I  hurt  my  thumb 
in  the  jamb  of  the  door.  5.  The  rivers  were 
swollen  from  the  thaw.  6.  How  many  teeth 
has  the  baby.^  7.  There  is  hardly  a  breath  of 
air.  8.  I  am  sure  that  the  story  is  all  a  myth. 
9.  Have  you  a  fire  on  the  hearth.^  10.  Did  you 
have  charge  of  a  booth  at  the  fair.^  11.  "The 
north  wind  doth  blow,  and  we  shall  have 
snow."     12.  I  will  meet  you  at  three  o'clock. 

13.  How  does  your  garden  thrive  this  summer? 

14.  The  house  is  worth  seven  thousand  dol- 
lars, lo.  This  is  the  fifth  time  I've  spoken  to 
you.  

L — Pointcd-T ongne-to-Giim 

128.  For  /,  as  in  "leaf,"  the  point  of  the 
toiKjric  louches  Ihe  upper  gum .  The  movement 
is  seen  as  the  tongue  leaves  the  gum. 


LESSONS  ON  THE  MOVEMENTS    203 

129.  Movement  Words 

she,  thee.  Zee — teach,  teeth,  deaZ 
shed,  then,  Zet — edge,  eth,  qU 
shad,  that,  Zad — hash,  hath,  HaZ 
shin,  thin,  Zit — midge,  myth,  miZZ 
shuck,  thug,  Zuck — hush,  doth,  huZZ 
shard,  Zard — harsh,  hearth,  carZ 
shoot,  Zoot — douche,  tooth,  tooZ 
shook,  Zook — push,  puZZ 
short,  thought,  Zord — north,  taZZ 


130. 

Practise 

Words 

Zeap 

large 

ell 

waZZ 

Zedge 

Zoose^ 

paZ 

whiZe 

Zash^ 

Zose^ 

shri/Z 

whoZe'^ 

Zatchi 

Zook 

huZZ 

hoZe^ 

mv 

Zaw 

gnarZ 

scowZ 

Zived^ 

feeZ^ 

cooZ 

boiZ 

Zump 

veaZ^ 

fuZZ 

luZZ 

131.  Senterices 

1.  Can  you  leap  across  the  brook?  2.  I 
put  the  book  on  the  window  ledge.  3.  The 
door  is  always  on  the  latch.  4.  I  could  hardlj^ 
lift  one  foot  after  the  other.  5.  AYill  you  have 
one  lump  of  sugar  in  your  coffee,   or  two? 


204  LIP-READING 

6.  The  boys  were  flying  a  large  kite.  7.  The 
shoes  are  too  loose  for  me.  8.  Look  before 
you  leap.  0.  I  laid  down  the  law  to  him. 
10.  How  do  you  feel  this  morning.^  11.  The 
house  has  a  large  ell  on  one  side.  12.  She 
has  a  very  high  shrill  voice.  13.  The  ship 
was  hull  down  upon  the  horizon.  14.  There  is 
a  big  gnarl  on  the  trunk  of  the  tree.  15.  She 
was  as  cool  as  a  cucumber.  16.  She  gave 
a  full  account  of  her  adventure.  17.  There  is 
a  high  stone  wall  around  the  grounds.  18.  I 
will  see  you  while  I  am  at  the  shore  this  sum- 
mer. 19.  That  is  the  whole  thing  in  a  nut- 
shell. 20.  Why  do  you  scowl  at  me  in  that 
way?  21.  Will  you  boil  the  potatoes  for 
lunch  .f^     22.  There  was  a  lull  in  the  storm. 


r,  cf,  n — Flat-Ton(]uc-io-Gum 

132.  For  t,  as  in  "tie,"  d,  as  in  "die,"  and 
r?,  as  in  "nigh,"  the  flat  edge  of  the  to?igue 
touches  the  upper  gum.  The  teeth  are  close 
together,  which  makes  the  tongue  movement 
a  (hflicult  one  to  see;  sometimes  reliance  must 
be  had  upon  the  context. 


LESSONS  ON  THE  M0VE:MENTS     205 

133.  Movement  Words 

llicc,  lee,  ^ea — teeth,  deal,  deecZ 
then,  let,  ^en — etli,  ell,  E(/ 
that,  lad,  ^an — hath,  Hal,  lia^ 
thill,  lil,  /in — kith,  kill,  ki/ 
thug,  luck,  /uck — doth,  hull,  hu^ 
lark,    c?ark — hearth,    carl,    car^ 
loot,   toot — tooth,   tool,   too^ 
look,  took — pull,  pu/ 
thought,  lawn,  c?awn — north,  tall,  tau^ 

134.  Contrast  Words 

Contrast  the  y?a/-tongue-to-gum  movement 
{t,  d,  n)  with  the  2?o?7z/cc?-tongue-to-gum  move- 
ment (Z);  notice  (1)  the  wider  lip  and  teeth 
opening  for  /,  and  (2)  that  the  tongue  shows 
more  for  I. 

tea — lea  meet — meal 

dive — life  white — while 

dove — love  hut — hull 

turn — learn  pert — pearl 


noon- 


loon  food — fool 


135.  Also  contrast  the  flat-tongue-to-gum 
movement  it,  d,  n)  with  the  trenior-at-corners 


206  LIP-READING 

movement  (s,  z);  notice  (1)  that  though  the 
teeth  are  close  together  for  both  movements, 
they  are  closer  for  s  and  z,  (2)  that  s  and  z 
have  the  tremor-at-corners  Avhile  t,  d,  and  n 
do  not,  and  (3)  that  the  tongue  is  not  visible 
for  s  and  z  while  for  t,  d,  and  n  it  may  be  seen 
as  it  touches  the  upper  gum. 


team- 

— seam 

peat- 

-peace 

tie — sigh 

mite- 

-mice 

ton — 

son 

mud- 

-muss 

turf- 

-surf 

pert— 

-purse 

tooth- 

— sooth 

moot- 

—moose 

136. 

Practise 

Words 

teach 

tub' 

feet' 

do7?e^ 

ten' 

dump^ 

feat' 

darn^ 

den' 

Jumb^ 

ied 

darf 

neV 

(/ark 

p\a7i^ 

Uui' 

dash 

^ool 

phuif^ 

frui^ 

dish'^ 

^ook^ 

f[n' 

foot 

cZitch^ 

nook^ 

at' 

war??^" 

niche  - 

talk 

ion^ 

wart'' 

137.  Sentences 

1.  AVill  vou  teach  mc  to  swim?    2.  I  caught 
the  butterfly  in  the  net.     3.  You  will  have  to 


LESSONS  ON  THE  MOVEMENTS     207 

make  a  dash  for  your  car.  4.  The  automobile 
went  over  into  the  ditch.  5.  Did  you  have  a 
tub  bath  or  a  shower  this  morning?  6.  The 
thunder  storm  made  it  ahnost  as  dark  as  night. 
7.  Will  you  bring  me  a  nail  and  a  hammer 
from  the  tool  chest?  8.  I  took  a  long 
walk  this  afternoon.  9.  I  shall  have  to 
talk  the  matter  over  with  you.  10.  I  hope 
you  w^ill  be  on  your  feet  again  soon.  1 1 .  Have 
you  fed  the  cats  to-day?  12.  Where  are 
you  going  to  plant  the  rosebush?  13.  Your 
new  suit  is  a  perfect  fit.  14.  Now,  what 
have  you  done?  15.  "The  Queen  of  Hearts, 
she  made  some  tarts,  upon  a  summer's  day." 

16.  Are  there  many  fruit  trees  on  the  farm? 

17.  You  put  your  foot  in  it  that  time!  18.  I 
warn  you  to  look  out  for  that  man. 


Diphthongs 

138.  The  diphthongs  are  a,  i,  oy,  ow,  6, 
and  u. 

Each  diphthong  has  two  elements,  one  of 
which  is  alwavs  more  enn)hatic  and  hence 
more  prominent  or  noticeable  than  the  other. 
It   *s   this   emphatic  element  that  gives   the 


208  LIP-READING 

eye  the  clue,  but  it  is  the  unemphatic  element 
that  distinguishes  the  diphthong  from  the 
fundamental  sound. 

There  are  three  diphthongs  of  which  ihe  final 
element  is  a  puckered  movement,  and  there  are 
three  of  which  the  final  element  is  a  relaxed 
and  narroio  movement. 


Diphthongs   with   Puckered   Final 
Movement 

oiv 

139.  For  ow,  as  in  "how,"  the  first  move- 
ment is  like  that  for  ah,  as  in  "art,"  the 
relaxed -wide;  but  for  oic  this  relaxed-wide 
movement  is  followed  by  a  very  evident 
puckered  movement. 

140.  Contrast  Words 

Contrast  this  sound  c;f  oio  with  ah;  notice 
the  puckering  of  the  lips  for  oiv  which  ah  does 
not  have. 

mouse — mars  doubt — dart 

pout — part  cow — car 

loud — lard  how — ha 


LESSONS  ON  THE  IMOVEINIENTS    209 


141. 

Fractist 

e  Words 

iiioifth 

shout 

couwV 

S02/th 

iou  nd 

thou 

gown^ 

fo?/l^ 

Y,'oiind 

loud 

how 

fo?rP 

ro?/nd^ 

douhV 

hour 

l)oimd^ 

TOUV 

town  2 

hoz^se 

bo?/nd° 

sound 

down^ 

cowch 

moz^nd^ 

142. 

Sentences 

1.  "Open  your  mouth,  and  shut  your  eyes, 
and  I  will  give  you  something  to  make  you 
wise."  2.  Have  you  found  out  what  the 
trouble  is?  3.  Have  you  wound  the  clocks 
this  week?  4.  Do  not  put  a  square  peg  in  a 
round  hole.  5.  Can  you  hear  the  sound  of  my 
voice  at  all?  6.  You  do  not  need  to  shout  at 
me.    7.  There  was  a  loud  knock  at  the  door. 

8.  Are  you  going  down  town  this  afternoon? 

9.  Don't  count  your  chickens  before  they  are 
hatched.  10.  How  do  you  do?  11.  At  what 
hour  shalll  meet  you?  12.  *' This  is  the  house 
that  Jack  built."  13.  I  think  I  will  lie  down 
on  the  couch  for  a  while.  14.  "AVhen  the 
wind  is  from  the  south,  it  blows  the  bait  in  the 
fish's  mouth."  15.  The  air  in  the  room  was 
very  foul.     IG.  I  bought  a  pound  of  candy. 


210  LIP-READING 

Long  0 

143.  For  long  o,  as  in  "go,"  we  have  what 
may  be  described  as  a  contracting  puckered 
movement,  beginning  with  a  slight  puckering 
and  somewhat  wide  opening  of  the  lips  (like 
the  puckered-wide  for  aiv)  and  becoming  more 
puckered. 

14:4:.  Movement  Words 

bough,  beaw — ope 
vow,  ioe — cove 
wow,  wo^ 
rout,  rote 
sound,  zone — house,  hose 
shout,  slioat — couch,  coach 
thou,    tho?/gh — mouth,   both 
loud,  load — howl,  hole 
now,  no — out,  oot 


145. 

Practise  Words 

pole^ 

show 

ioe^ 

rose 

bo?rl  ^ 

tho?/gh 

yoke'' 

poach 

mole^ 

load- 

yolk^ 

both 

foam 

loon- 

cold 

stroll 

woe 

lone- 

hope^ 

boat^ 

roll 

no^ 

home^ 

mode^ 

soap 

knoiv^ 

loaf 

poke 

LESSONS  ON  THE  MOVEMENTS     211 

146.  Sentences 

1.  You  will  have  to  pole  the  canoe  up  the 
stream.  2.  The  waves  are  capped  with  foam 
this  morning.  3.  You  look  very  woe-begone 
this  afternoon.  4.  Did  you  have  a  roll  for 
breakfast.^  5.  Soap  and  water  will  wash  out 
the  stain.  6.  Will  you  show  me  what  you 
w^ant  me  to  do?  7.  That  takes  a  load  off  my 
shoulders.  8.  How  much  do  you  know  about 
the  matter?  9.  Did  you  ever  drive  a  yoke  of 
oxen?  10.  We  have  had  a  very  cold  winter. 
11.  While  there  is  life,  there  is  hope.  12.  I 
bought  a  loaf  of  bread.  13.  Every  rose  has 
its  thorn.  14.  We  drove  over  the  mountain 
in  the  stage  coach.  15.  Shall  I  poach  the 
eggs  for  your  breakfast?  IG.  Will  you  take  a 
stroll  along  the  beach  with  me?  17.  I  will 
row  the  boat  across  the  river  for  you.  18.  Poke 
up  the  fire  if  you  want  it  to  burn. 


Long  u 

147.  The  beginning  element  for  long  ?7, 
as  in  "mute,"  is  a  very  quick  relaxed-narrow 
movement,  which  is  follow^ed  by  a  very  de- 
cided puckered  movement,  like  that  for 
long  00. 


212  LIP-READING 

As  a  rule,  the  relaxed-narrow  element  of 
long  li  cannot  be  seen  after  the  following  con- 
sonants, t  (tune),  d  (due),  n  (new),  /  (lieu), 
s  (sue),  til  (thew);  and  then  u  must  be  told 
from  long  oo  by  the  context. 

148.  Movement  Words 

bough,  beau,  pew — cope,  cube 
vow,  foe,  ieiv 
house,  hose,  ?/se 
couch,  coach,  huge 

mole,  mi^le 
mount,  moat,  mwte 

149.  Practise  Words 

pew  cue  hue^  huge 

iew^  fume  heiv^  nude 

view^         cube  use  mute 

150.  Sentences 

1.  IIow  far  is  your  j)ew  from  the  front  of 
the  church?  2.  We  have  a  beautiful  view 
from  the  porch.  3.  I  took  my  cue  from  you. 
4.  Do  not  fret  or  fume  about  that.  5.  The 
blocks  have  the  shape  of  a  cube.  G.  There 
were  all  the  hues  of  the  rainbow  in  the  western 


LESSONS  ON  THE  :M0VEMENTS    ^13 

sky.  7.  AYhat  is  the  use  of  crying  over  spilt 
milk?  8.  Some  men  have  been  able  to  amass 
a  huge  fortune  in  their  Hfetime.  9.  He  is 
as  stubborn  as  a  mule.  10.  I  was  mute  with 
astonishment. 


Consonants  Revealed  by  Context 
Y — Relaxed-N  arrow 

151.  For  y,  as  in  "y^s,"  the  lips  are  re- 
laxed and  the  opening  between  the  upper  and 
lower  lips  is  narrow.  It  is  like  the  movement 
for  short  i.  The  movement  for  y,  however, 
is  so  quick  that  the  eye  seldom  sees  it;  usually 
the  sound  must  be  revealed  by  the  context. 

Y  occurs,  as  a  consonant,  only  before  vowels. 
It  is  not  a  common  sound,  and  therefore, 
though  difficult,  it  causes  little  trouble. 

152.  Movement  Words 

lee,  tea,  ye 
let,  ten,  yet 
lad,  tan,  yak 
luck,  tuck,  young 
lard,  darn,  2/arn 
loo,  too,  you 
lawn,  dawn,  yavm. 


2U  LIP-READING 

153.  Practise  Words 

2/east  ?/ank  y^xvd^  year 

yes  young  youth.  yelp 

yet  ysLYJi^  yawl  yolk 

154.  Sentences 

1.  You  will  need  more  yeast  for  yonr  bread. 
2.  Yes,  I  know  I  shall.  3.  I  am  not  yet  ready 
to  go.  4.  Why  do  you  yank  the  reins  so  hard? 
5.  I  was  watching  the  mother  bird  teach 
her  young  ones  to  fly.  6.  Will  you  buy  a  skein 
of  yarn  for  me.^  7.  We  would  all  like  to  find 
the  fountain  of  youth.  8.  I  went  for  a  sail 
in  the  yawl.  9.  It  will  be  a  year  before  I  shall 
see  you  again.  10.  Did  you  hear  the  yelp 
of  that  dog.^  11.  The  pudding  takes  the  yolk 
of  one  egg. 


K,  g  {Hard),  ng,  vl: — Throat  Movemeiit 

155.  For  h,  as  in  "kin,"  hard  g,  as  in  "go,'* 
ng,  as  in  "rang,"  and  nh,  as  in  "rank,"  a 
drawing  up  of  the  throat  muscles  just  above 
the  Adam's  apple  may  sometimes  be  seen. 
The  movement  is  slight,  and  if  seen  at  all 
must  be  seen  while  the  eyes  are  on  the  mouth. 


LESSONS  ON  THE  MOVEMENTS    215 

Usually  these  sounds  must  be  revealed  by  the 
context.  (Hard  c,  as  in  "cat,"  has  the  sound 
of  k.) 

15G.  Movement  Words 

*tea,  ye,  key — eat,  eke 
ten,  yet,  get — Ed,  egg 
tack,    yak,    gag — had,    hag 

tin,  kid — it,  ink 
tuck,  young,  cut — hut,  hu^ 
darn,  yarn,  cart — art,  ark 
too,    you,    coo — toot,    duZre 

took,  cook — good,  cook 
daw,  yaw,  caw — awed,  au/j 


57. 

Practise 

Words 

A*eel 

cart2 

heg' 

rink^ 

get 

coon 

rack^ 

Tug 

cat^ 

^ood 

rag'^ 

hook 

can^ 

calP 

rang^ 

walk 

gih 

^alP 

rank^ 

Quart 

cuff 

leaZ: 

TUf 

cream^ 

card  2 

pec/c^ 

ling'^ 

creep' 

*This  group  is  very  diflScult  and  you  must  not  expect  too  much. 


216  LIP-READING 

158.  Sentences 

1.  The    boat    was    sailing    on    even    keel. 

2.  What  time  do  you  get  up  in  the  morning? 

3.  Have  you  a  cat  at  your  house?  4.  "The 
gift  without  the  giver  is  bare."  5.  I  have 
lost  one  of  my  cuff  links.  6.  Are  you  going 
to  the  card  party  this  afternoon?  7.  Did  you 
ever  go  hunting  for  coon?  8.  "When  she 
was  good,  she  was  very,  very  good."  9.  I 
thought  I  heard  you  call  to  me.  10.  Did  you 
find  the  leak  in  the  roof?  11.  I  was  in  a  peck 
of  trouble.  12.  She  took  a  very  high  rank  at 
school.  13.  Did  you  hear  the  door  bell  ring? 
14.  I'm  as  snug  as  a  bug  in  a  rug.  15.  Hang 
your  hat  and  coat  on  the  hook.  16.  Will  you 
take  a  walk  with  me?  17.  I  bought  a  quart 
of  milk  and  half  a  pint  of  cream.  18.  The  baby 
is  just  old  enough  to  creep. 


h 

159.  For  h,  as  in  "hat,"  there  is  no  move- 
ment. 1/  has  the  appearance  of  the  following 
vowel.  It  must  always  be  told  by  the  context. 


LESSONS  ON  THE  MOVEMENTS    217 

In  the  following  Practise  Words,  where  a 
word  is  given  without  the  h,  it  will  in  each 
instance  be  homophenous  to  the  word  im- 
mediately preceding  it. 

160.  Practise  Words 


heaV 

hsLve 

w/iose^ 

Aowl 

eat^ 

hiW 

ooze*^ 

home 

Aead- 

i\V 

hook 

hike 

end^ 

hut 

haW 

Aail« 

harn^ 

heavt^ 

haul' 

ale* 

am^ 

art^ 

all^ 

hue 

11. 

Sentences 

1.  Do  you  feel  the  heat  very  much.^  2.  What 
shall  we  eat  for  lunch .^  3.  Give  the  horse  his 
head.  4.  We  shall  have  boiled  ham  for  dinner. 
5.  Jack  and  Jill  went  up  the  hill,  6.  It  is  an 
ill  wind  that  profits  nobody.  7.  There  is  a 
little  hut  up  on  the  mountain.  8.  "Faint 
heart  never  won  fair  ladv."  9.  Will  vou  go 
to  the  Museum  of  Art  with  me?  10.  Whose 
house  is  that  upon  the  hill.^  11.  The  water 
oozed  from  my  wet  shoes.  12.  I  felt  the  fish 
nibble  at  my  hook.  13.  Wait  for  me  in  the 
hall  down  stairs.  14.  We  must  haul  the 
lumber  from  the  dock.  15.  All's  well  that 
ends  well.  IG.  Did  you  hear  the  dog  howl 
last  night?  17.  I  shall  be  home  at  seven 
o'clock.  18.  The  boy  scouts  are  going  on  a 
hike.     19.  We  had  a  hail  storm  this  afternoon. 


218  LIP-READING 

Diphthongs  (continued) 

Diphthongs  with  Relaxed  and  Narrow 
Final  Movement 

Long  a 

163.  For  long  a,  as  in  "  late,"  the  first  move- 
ment is  like  that  for  e,  in  "let,"  the  extended- 
medium;  but  for  long  a,  this  extended- 
medium  movement  is  followed  by  a  quick 
relaxed-narrow  movement.  The  relaxed- 
narrow  element  is  difficult  to  see  in  this 
diphthong;  it  has  the  effect  of  making  a 
slightly  slower  in  formation  than  e.  Fre- 
quently, however,  the  two  sounds  must  be 
told  apart  by  the  context. 

1G3.  Contrast  Words 

Contrast  long  a  with  short  e,  noticing  the 
slower  formation  for  a. 

aid — end  shave — chef 

bait — bet  lace — less 

wail — well  bathe — Beth 


LESSONS  ON  THE  MOVEMENTS    219 


164. 

Fraciise 

Words 

paz'P 

save 

gaYQ 

faz'lh 

ma?P 

shame'* 

haste 

aiV 

fa/P 

shape^ 

ami 

ale^ 

VCl'P 

ihcy 

wave® 

shade^ 

way^ 

anie 

waif® 

cham^ 

weigh  ^ 

name^ 

race 

bake» 

ray 

tame^ 

page 

niake° 

1G5.  Sentences 

1.  Will  you  mail  my  letter  for  me?  2.  "There 
is  no  such  word  as  fail."  3.  Where  there's 
a  will,  there's  a  way.  4.  The  baby  was  like 
a  ray  of  sunlight  in  the  house.  5.  Save 
the  pence,  and  the  pounds  will  take  care  of 
themselves.  G.  What  is  the  shape  of  the  room  "^ 
7.  Have  they  told  you  all  about  it.'^  8.  The 
horse  seems  to  be  lame  in  his  left  forefoot. 
9.  What  is  your  name.'^  10.  She  gave  me  her 
name,  but  I  have  forgotten  it.  11.  More 
haste,  less  speed.  12.  I  cannot  see  what  you 
aim  to  accomplish.  13.  The  wave  swept  me 
off  my  feet.  14.  Have  you  ever  heard  of  the 
race  between  the  hare  and  the  tortoise.^  15. 
There  is  a  page  torn  out  of  the  book.  1(1.  I 
have  unbounded  faith  in  vou.     17.    What  ails 


220  LIP-READING 

you?  18.  Will  you  pull  down  the  shade  for  me? 
19.  You  will  make  the  mistake  of  your  life 
if  you  do  that. 


Long  I 

1G6.  For  long  f,  as  in  "pipe,"  the  first 
movement  is  like  that  for  ah,  in  "palm," 
the  relaxed-wide;  but  for  long  i,  this  relaxed- 
wide  movement  is  followed  by  a  quick 
relaxed-narrow  movement. 

167.  Movement  Words 

pay,  pze — ape,  7'm 
fay.   He — knave,   kn?fe 

way,  ^\•ll?/ 
ray,  rye — ive 
say,  s/gh — ace,  ?ce 

shay,  sh?/ 
they,  \\\y — lathe,  t/the 
lay.   Me — ale,  isle 
nay,  nigh — aid,  /'d 
gay,  guy — lake,  1/ke 

hay,  high 


LESSONS  ON  THE  MOVEMENTS    221 

ICS.  Contrast  Words 

Contrast  the  sounds  of  long  I,  and  of  ah; 
notice  that  both  begin  with  the  relaxed-wide 
movement,  but  that  I  is  followed  by  the 
relaxed-narrow,  while  ah  is  not. 

pipe — palm  light — lard 

mice — mars  dine — darn 

pike — park  I'm — arm 

1G9.  Practise  Words 

pie^  Sight  kite^  tithe 

huy'^  shy  kind^  p/le^ 

f/ght-  thy  high  mz"le^ 

fme^  l/ghf  Wipe  hite^ 

why  line^  hive .  m?ght* 

rzpe^  tmie^  wire  pine^ 

rli?/me^  iype^  wise  like 

170.  Sentences 

1.  AVill    you    have    another    piece   of    pie? 

2.  "  We  do  not  want  to  fight,  but ."  3.  Why 

did  you  not  tell  me  before?  4.  There  is  neither 
rhyme  nor  reason  in  the  matter.  5.  My  eye- 
sight is  very  keen.  G.  The  little  girl  seems  to 
be    somewhat    shy.      7.  Put    out    the    light. 


222  LIP-READING 

8.  What  time  is  it?  9.  It  is  very  kind  of 
you  to  do  that  for  me.  10.  There  was  a  high 
wind  during  the  storm.  11.  Wipe  the  slate 
clean  and  begin  again.  12.  The  bees  are 
buzzing  around  the  hive.  13.  I  will  wnre 
you  as  soon  as  1  arrive.  14.  I  think  that 
would  be  a  very  wise  thing  for  you  to  do. 

15.  She  gives  a  tithe  of  her  income  every  year. 

16.  The  aeroplane  was  flying  faster  than  a 
mile  a  minute.  17.  "Good  night,  sleep  tight, 
and  do  not  let  the  mosquitoes  bite."  18.  How 
do  you  like  that? 

oy 

171.  For  0?/,  as  in  "boy,"  the  first  movement 
is  like  that  for  aw,  in  "paw,"  the  puckered- 
wide;  but  for  oy,  this  puckered-wide  movement 
is  followed  by  a  quick  relaxed-narrow  move- 
ment. 

172.  Movement  Words 
bay     buy,     hoy 

fail,  file,  foil — knave,  knife,  coif 

ray,     rye,     l\oy 
sail,  side,  soil — days,  dice,  ioys 
lain,  line,  loin — ale,  isle,  oil 
day,  tie,  \oy — cane,  kine,  coin 

gay,     guy,     Qoy 


LESSONS  ON  THE  MOVEMENTS     223 

173.  Contrast  Words 

Contrast  the  sounds  of  oy  and  of  aiv;  notice 
that  both  begin  with  the  puckered-wide  move- 
ment, but  that  oy  is  followed  by  the  relaxed- 
narrow,  while  aw  is  not. 

boy — paw  oil — all 

point — pawn  troy — draw 

foil — fall  coif — cough 

174.  Practise  Words 

hoy  soil  coil  noise 

foil  loin  oil  broil 

roil  toil  coii  voice 

175.  Sentences 

1.  The  boy  carried  the  message  for  me. 
2.  Thecandy  was  wrapped  in  tinfoil.  3.  AVhy 
do  you  try  to  roil  me?  4.  You  will  soil  your 
clothes  unless  you  put  an  apron  on.  5.  I 
bought  a  sirloin  steak  for  dinner.  6.  "  Double, 
double  toil  and  trouble."  7.  She  wore  her 
hair  in  a  coil.  8.  Pour  oil  on  the  troubled 
waters.  9.  She  wore  a  coif  on  her  head. 
10.  AVhat  was  that  noise  I  heard .^  11.  Will  you 
broil  the  steak .^  12.  You  have  a  very  pleas- 
ant voice. 


224 


LIP-READING 


R  AFTER  Vowel 

170.  As  a  rule,  r  after  a  vowel  Is  slighted  or 
slurred.  It  only  rarely  shows  the  strong 
puckered-corners  movement  that  it  does  be- 
fore a  vowel.  Depending  upon  the  care  with 
which  it  is  pronounced,  it  maj'  show  (1)  no 
movement  at  all,  or  (2)  the  relaxed-medium 
movement,  "our,"  for  example,  like  "ow-uh," 
or  (3)  a  slight  puckered-corners  movement. 


R,  After  Voicel,  Showing  No  Movement 

177.  An  r,  after  a  vowel  and  before  a  con- 
sonant, as  in  "farm,"  usually  shows  no  move- 
ment. 

Practise  Words 

arm  ^  barb  orb 

harm^  sharps  form 

harp^  charm-  fort 

farm  shark  born 


warm^ 
warp^ 
short 
thorn 


178.  Sentences 

1.  Were  you  vaccinated  on  the  arm? 
2.  The  farm  was  al)and()ned  and  overgrown 
with  thorns.     3.  Did  you  ever  climb  through 


LESSONS  ON  THE  IMOVEMENTS     225 

a  barbed  wire  fence?  4.  There  was  a  sharp 
wind  from  the  north  east.  5.  A  shark  swam 
along  in  the  wake  of  the  ship.  G.  The  moon 
is  the  orb  of  night.  7.  Your  hps  form  the 
words  very  welL  8.  The  fort  was  captured 
by  the  enemy.  9.  "Full  mam^  a  flower  is 
born  to  blush  unseen."  10.  The  wood  was 
badly  warped  from  the  dampness.  11.  "The 
longest  way  round  is  the  shortest  way  home." 
12.  Every  rose  has  its  thorn. 


R,  After  Vowel,  Rclaxcd-Medium 

170.  A  final  r  in  an  accented  syllable,  oc- 
curring after  a  long  vowel,  tends  to  become 
like  short  ii  and  to  show  the  relaxed-mcdium 
movement;  though  it  may  show  a  slight 
puckered-corners,  in  which  case  the  preced- 
ing long  vowel  will  probably  be  somewhat 
shortened. 

180.  Practise  Words 

fear  rear  deer-^  sure 

peer^  shear-  dear^  tour 

beer^  cheer-  poor'  pure 

we're  spear  moor^  cure 


^^26  LIP-READING 

181.  Sentences 

1.  We  will  show  neither  fear  nor  favor.  2.  I 
thought  I  saw  you  peer  into  the  window. 
3.  ^Ye're  going  away  for  a  long  time.  4.  You 
will  find  a  seat  in  the  rear  of  the  car.  5.  Cheer 
up !  The  best  is  yet  to  come.  6.  Did  you  ever 
try  to  spear  eels.^  7.  Fresh  eggs  are  always 
very  dear  in  the  winter  time.  8.  He  was  as 
poor  as  a  church  mouse.  9.  You  must  be  sure 
to  tell  me  about  everything.  10.  Would  you 
like  to  take  a  tour  around  the  world  .^  11.  The 
water  from  the  spring  is  as  pure  and  clear  as 
crystal.  12.  Do  you  know  anything  that 
Avill  cure  a  cold.^ 


R,    After   Diphthong,  RcUixed-Medium 

183.  A  final  r  in  an  accented  syllable,  oc- 
curring after  a  diphthong,  tends  to  become  like 
short  ii  and  to  show  the  relaxed-medium  move- 
ment; though  it  may  show  a  slight  puckered- 
corners,  in  which  case  the  preceding  diphthong 
will  lend  to  lose  its  dii)hlh()ngal  quality  and 
to  show  only  its  emphatic  element. 


LESSONS  ON  THE  MOVEMENTS     227 


183. 


Practise  Words 


air 

chair''           tire 

shore 

fair^ 

their             ore 

lore 

fare^ 

lair               four 

door^ 

pare  2 

dare             pore^ 

tore" 

pair  2 

care              bore^ 

core^ 

bear2 

fire               more^ 

gore^ 

wear 

mire             wore 

our^ 

rare 

wire              roar 

liour^ 

share  ^ 

lyre              sore 

sour 

184. 

Sentences 

1.  Do  you  feel  the  air  from  the  window? 
2.  Faint  heart  never  won  fair  lady.  3.  I  can- 
not bear  a  strong  light  in  my  eyes.  4.  You 
must  wear  your  new  dress  to  the  reception. 

5.  I  prefer  my  roast  beef  rare,  if  you  please. 

6.  If  it  rains,  you  may  share  my  umbrella. 

7.  I   will  take  their  word  for  it.     8.  Don't 

9.  I  don't  believe  I  care 

10.  The  fire  burned  the 
11.  I  will  wire  vou  as 
soon  as  I  arrive.  12.  We  came  home  in  the 
automobile  on  a  punctured  tire.  13.  I  will 
meet  you  at  four  o'clock.  14.  The  more  we 
know,  the  more  we  want  to  know.  15.  His 
enthusiasm  wore  off  after  a  while.     16.  The 


you  dare  to  do  that, 
to  go  to  the  meeting, 
house  to  the  ground 


228  LIP-READING 

surf  broke  with  a  roar  on  the  beach.  17.  I 
hope  you  are  not  going  to  have  a  bad  sore 
throat.    18.  Shove  the  boat  off  from  the  shore. 

19.  Do    vou    know    the    lore    of    the    birds? 

20.  Will  you  please  open  the  door  for  me.^^ 

21.  I  gave  the  horse  the  core  of  the  apple. 

22.  At  what  hour  shall  I  come  to  see  you.^* 

23.  The  fox  called  the  grapes  sour  because  he 
could  not  reach  them. 


Ur — Puckercd-Corners 

185.  The  sound  of  ur,  as  in  "turn,"  shows 
usually  only  the  puckercd-corners  movement; 
the  u  does  not  show  a  separate  movement, 
but  is  absorbed  by  the  r. 

Occasionally,  however,  only  the  relaxed- 
mcdium  movement  is  seen  for  ur;  this  is 
especially  common  when  the  sound  is  final, 
as  in  "fur." 

And  occasionally'  also,  ?//•  shows  both  the 
relaxed-medium  (for  the  u)  and  the  puckered- 
corners  (for  the  r) ;  this  is  common  where  the 
ur  sound  is  followed  by  a  vowel  in  another 
syllable,  as  in  "hurry." 


LESSONS  ON  THE  MOVEMENTS     229 

18G.  Practise  Words 

iur  were  2  cXiirp  curve 

fiVm^  whfr^  learn  yc«rn 

verb^  worm  turn^  hurV 

hurr  suri  dirt^  heard* 

187.  Sentences 

1.  The  niufF  is  made  of  the  fur  of  the  blue 
fox.  2.  They  took  a  firm  stand  in  the  matter. 
3.  Have  you  ever  read  "The  Opening  of  a 
Chestnut  Burr?"  4.  I  hear  the  whir  of 
machinery.  5.  The  worm  will  turn.  G.  Let's 
go  swimming  in  the  surf!  7.  The  birds  chirp 
happily  among  the  trees.  8.  Will  you  never 
learn  any  better.'^  9.  Things  will  take  a  turn. 
10.  The  train  came  around  the  curve.  IL  Did 
you  hurt  yourself  very  much.-^  12.  I  never 
heard  of  that  before. 


Variant  Sounds 

Short  6 

188.  For  the  sound  of  short  o,  as  in  "odd," 
"on,"  etc.,  there  are  two  possibilities,  depend- 
ing upon  the  speaker's  pronunciation. 


230  LIP-READING 

First. — Short  6  is  more  commonly  heard 
as  an  extreme  short  sound  of  Italian  a  (ah); 
when  so  pronounced  it  shows  the  relaxed- 
wide. 

Second. — Short  o  is  also  quite  commonly 
heard  as  an  extreme  short  sound  of  broad  a 
(aw) ;  when  so  pronounced  it  shows  the  puck- 
ered-wide  movement.  A  few  words,  such  as 
"dog,"  "long,"  "lost,"  etc.,  are  almost  al- 
Wfiys  heard  with  this  sound. 


189. 

Prac 

Use  Words 

fopi 

shop  2 

yacht 

loft 

fob! 

chop- 

odd^ 

long 

pot 

lot 

hot^ 

lost 

what 

dot^ 

on* 

dog 

rob 

knot^ 

off 

cross 

sob 

cot 

soft 

cost 

100.  Sentences 

1.  Would  you  like  a  watch  fob  for  a  Christ- 
mas present?  2.  A  watched  pot  never  boils. 
3.  I  don't  know  what  I  am  going  to  want. 

*"0n"  may  be  homophenous  with  "odd"  and  "hot";  though 
through  to  this  point,  the  words  arc  usually  given  with  rclaxed-wide 
for  the  o,  while  "  on  "  is  often  |)ii<k<'red-wi(le.  All  the  words  in 
the  list  after  "  on  "  usually  show  the  puekered-wide. 


LESSONS  ON  THE  MOVEMENTS    231 

4.  Thieves  robbed  the  house  while  we  were 
away.  5.  She  sobbed  as  if  her  heart  would 
break.  6.  Did  you  have  a  chop  for  break- 
fast. 7.  I  bought  the  house  and  lot  at  a  great 
bargain.  8.  You  must  not  forget  to  dot  your 
i's.  9.  I  slept  on  a  cot  all  the  time  I  was  in 
camp.  10.  Would  you  like  to  go  for  a  sail 
wuth  me  in  my  yacht  .^  11.  There  was  a  hot 
fire  in  the  grate.  12.  Come  on  with  me. 
13.  I'm  going  off  for  an  all  day  tramp.  14.  The 
turf  was  very  soft  after  the  long  rain.  15.  We 
had  a  merry  time  in  the  hay  loft.  16.  That  is 
the  long  and  short  of  the  whole  matter.  17.  I 
thought  you  were  lost!  18.  Old  Mother  Hub- 
bard went  to  the  cupboard  to  fetch  her  poor 
dog  a  bone.  19.  She  was  as  cross  as  two  sticks 
when  I  spoke  to  her.  20.  What  would  it 
cost  to  paint  the  house. ^^ 


Lo72g  or  Short  oo 

191.  There  are  a  number  of  words,  such  as 
*'  roof,"  that  are  currently  pronounced  with 
either  the  long  or  the  short  sound  of  oo,  and 
hence  show  either  the  puckercd-narrow  or  the 
puckered-medium  movement.  The  long  sound 
is  more  common  and  is  preferred  by  orlhoepists. 


232 


2 

LIP-READING 

192. 

Practise  Words 

roof 

soon                    hoof 

room 

soot                    hoop 

root 

193- 

Sentences 

1.  The  roof  has  a  bad  leak.  2.  There  v\-as 
a  crowd  of  people  in  the  room.  3.  That  is 
the  root  of  the  whole  trouble.  4.  I  will  be 
with  you  very  soon.  5.  The  chimney  was 
fairly  choked  with  soot.  6.  I  saw  the  im- 
print of  a  deer's  hoof  in  the  woods.  7.  The 
little  girl  was  rolling  a  hoop  along  the  walk. 


A  in  Path 

194.  There  are  a  number  of  words,  such  as 
*'path,"  in  which  the  a  commonly  has  the 
short  sound,  as  in  "pat,"  and  the  extended- 
wide  movement,  though  a  somewhat  broader 
sound,  nearly  equivalent  to  ah,  showing 
the  rclaxcd-widc  movement,  is  more  correct. 


LESSONS  ON  THE  MOVEMENTS    233 


195. 

Practise  Words 

fast^ 

path^            blast 

ask 

vast^ 

both^            class^ 

task 

past 

last               glass^ 

grasp 

190. 

Sentences 

1.  I  took  the  fast  train  for  Boston.  2.  "Let 
the  dead  past  bury  its  dead."  3.  I  made  a 
gravel  path  around  the  garden.  4.  Where 
were  you  last  night?  5.  The  house  shook 
from  the  blast.  G.  Would  you  like  a  glass  of 
water.^  7.  I  shall  have  to  ask  you  to  go  to 
the  post  office  for  me.  8.  When  you  have 
finished  your  task,  you  can  rest  for  awhile. 
9.  A  drowning  man  grasps  at  a  straw. 


X 

197.  The  letter  a:  represents  a  combination 
of  two  sounds,  namely,  of  h  and  s  (as  "box"= 
*'boks"),  or  of  g  and  z  (as  "  exact  "="  egzact ") 
Hence,  theoretically,  the  sounds  represented 
by  X  show  a  combination  of  the  throat  move- 
ment and  the  tremor-at-corners  movement; 
practically,  however,  the  thi-oat  movement  is 


234  LIP-READING 

seldom  seen,  so  that  x  looks  like  s  or  z.  This 
will  be  seen  by  contrasting  "next"  and  "nest," 
*'hoax,"  and  "hoes." 

198.  Practise  Words 

iox  flaa;  ne.Tt^  vea; 

boa;  sia;  tea:t^  phloa; 

199.  Sentences 

1.  Did  you  ever  go  on  a  fox  hunt?  2.  I 
bought  a  box  of  candy.  3.  Her  hair  is  the 
color  of  flax.  4.  The  clock  has  just  struck 
six.  5.  I  will  see  you  again  next  week.  6.  I 
wish  3"ou  would  not  vex  the  cat.  7.  I  have  a 
bed  of  phlox  in  my  garden. 


Unaccented  Vowels 

200.  Accented  vowels  are  those  occurring 
in  syllables  which  are  stressed  or  emphasized; 
unaccented  vowels  are  those  occurring  in 
syllables  which  arc  not  stressed.  For  ex- 
ample, in  "after,"  the  first  syllable  is  stressed 
or  accented,  while  the  final  syllable  is  un- 
stressed  or  unaccented- 


LESSONS  ON  THE  MOVEMENTS    235 

In  ordinary,  colloquial  speech,  almost  all 
unaccented  vowels  are  spoken  very  care- 
lessly, often  slovenly.  The  result  is  that  they 
usually  show  either  the  relaxed-medium  or 
the  relaxed-narrow  movement.  The  relaxed- 
medium  movement  is  more  common,  and  any 
unaccented  vowel  may  show  it;  though  the 
tendency  for  the  vowels  which  (except  short 
a)  in  accented  syllables  would  be  extended, 
and  for  short  t,  is  to  show^  the  relaxed-narrow. 
Even  these,  how^ever,  may  show  the  relaxed- 
medium,  according  to  the  speaker. 

Many  unemphatic  words  of  one  syllable 
have  the  effect  of  loss  of  accent  when  pro- 
nounced rapidly  and  naturally  in  sentences. 
Such  words  are  particularly  prepositions,  as 
to,  of,  on,  by,  etc.;  conjunctions,  as  and,  or; 
the  articles  a,  an,  the;  and  auxiliary  verbs, 
as  has,  had,  can,  etc. 


Extended  Movements,  Tending,  tvhen  Un- 
accented, to  Become  Relaxed-N arrow 

201.  The  accented  and  unaccented  vowels 
occurring  in  this  group  may  be  represented 
by  the  words:  veci,  refer;  fzVrce,  ferocious; 
get,  target;  face,  surface;  tare,  elementary. 


236 


LIP-READING 

Practise  Words 


depenc 

surface 

erect 

average 

eruption 

yesterday- 

ferocious 

elementary 

market 

rudimentary 

target 

rosary 

contented 

Sentences 

303. 

befall 

below 

refer 

prefer 

remove 

reward 

severe 

303. 

1.  I  will  come  to  see  j'ou  if  it  should  befall 
me  to  be  in  town.  2.  I  went  below  when  the 
weather  was  roui^h.  3.  Can  vou  refer  me  to 
a  good  dentist  in  the  city?  4.  I  prefer  not 
to  talk  about  the  matter.  5.  I  would  like 
to  have  the  rubbish  removed  from  the  cel- 
lar.    6.  The  reward  of  perseverance  is  sure. 

7.  There  was  a  severe  wind  storm  last  nii^ht. 

8.  I  depend  upon  you  to  write  me  all  the  news. 

9.  They  are  going  to  erect  a  twelve  story 
})uil(ling  on  the  site.  10.  The  baby  has  an 
eruption  all  over  his  body.  11.  The  hunter 
shot  the  ferocious  mother  bear  whose  cubs 
he  had  captured.  12.  Are  you  going  to  market 
this  morning?  13.  The  marksman  hit  the 
target  in  the  bullseye.     14.  She  is  perfectly 


LESSONS  ON  THE  MOVEMENTS    237 

contented  with  her  lot  in  Hfe.  15.  The  sur- 
face of  the  lake  is  frozen.  16.  What  is  the 
average  attendance  at  your  church.'^  17,  I 
met    your    friend    yesterday    on    the    street. 

18.  She   has   only   an   elementary   education. 

19.  Our  knowledge  of  electricity  is  still  rudi- 
mentary. 20.  She  wore  the  rosary  around  her 
neck. 


Relaxed  Movements,    Tending,    when   Unac- 
cented, to  Become  Relaxed-N arrow 

204.  The  accented  and  unaccented  vowels 
occurring  in  this  group  may  be  represented 
by  the  words:  p?t,  pulp/t;  dire,  d/rect. 


205. 

Practise 

Words 

nnpose 

d/spose 

liurr?/ 

wormy 

infer 

p/ano 

furr?/ 

g?gantic 

insure 

pulpzt 

worn/ 

d?'rect 

illegible 

splend^c 

wear?/ 

emigration 

20G.  Sentences 

1.  Don't  allow  anyone  to  impose  on  you. 

2.  What    am    I    to    infer   from   her   actions.^ 

3.  Have  you  insured  the  house  against  fire.'* 


238  LIP-READING 

4.  His  handwriting  is  so  illegible  I  cannot 
make  out  what  he  is  trying  to  say.  5.  I  am 
not  disposed  to  do  anything  for  her.  6.  I  will 
accompany  you  on  the  piano  if  you  will  sing 
for  us.  7.  Who  occupied  the  pulpit  at  church 
this  morning?  8.  We  had  a  splendid  vacation 
in  the  mountains.  9.  You  will  miss  the  train 
unless  you  hurry.  10.  I  saw  some  furry  ani- 
mal in  the  woods  this  morning.  11.  Don't 
worry  about  that.  12.  I  am  weary  of  hear- 
ing him  talk  about  his  troubles.  13.  I  think 
that  is  a  wormy  nut  you  have.  14.  Some  of 
the  trees  in  California  are  gigantic  in  size. 
15.  Can  you  direct  me  to  the  church  I  wish 
to  find?  16.  The  emigration  from  Italy  to 
America  is  very  large. 


Puckered    Movements,     Tending,    when     Un- 
accented   to    Become    Relaxed-Medium 

207.  The  accented  and  unaccented  vowels 
occurring  in  this  group  may  be  represented 
by  the  words:  too,  today;  accwse,  accwsation; 
cwre,  accurate;  iuW,  awfwl;  suvq,  cras?/re;  ope, 
opinion;  ore,  oration;  ciidq,  august  (adj.); 
off,   official;  sir,  swrprise.      In   rapid   speech. 


LESSONS  ON  THE  MOVEMENTS    239 

these  unaccented  vowels  tend  to  become  re- 
laxed, though  in  more  careful  speech,  they 
will  show  a  slight  puckering  of  the  lips. 


208. 

Practise  Words 

today 

wonderfwl 

awgust 

tomorrow 

delighihd 

authentic 

rwbescent 

wilfwl 

az^thority 

si/perior 

pleasure 

official 

stupendous 

measure 

offensive 

acciisation 

ieaiitre 

forlorn 

commiitation 

opinion 

mirror 

accurate 

propose 

rumor 

fwnereal 

violin 

river 

awfwl 

oration 

sz/rprise 

beautifwl 

horizon 

209.  Sentences 

1.  Are  you  going  to  town  today  or  to- 
morrow? 2.  The  rubescent  moon  rose  over 
the  hills.  3.  Means  of  transportation  to- 
day are  much  superior  to  those  of  a  century 
ago.  4.  There  has  been  stupendous  progress 
in  all  lines  of  invention.  5.  I  do  not  believe 
the  accusation  against  him  is  true.  6.  He 
gave  a  very  accurate  report  of  what  he  saw. 


240  LIP-READING 

7.  The  sunset  last  night  was  more  than  beauti- 
ful. 8.  That  opera  singer  has  a  wonderful 
voice.  9.  The  weather  was  most  delightful  all 
the  time  we  were  gone.  10.  It  will  give  me  a 
great  deal  of  pleasure  to  have  you  go  with  me. 
11.  Will  you  measure  me  and  see  how  tall 
I  am.^^  12.  What  is  your  opinion  of  the  story .^^ 
13.  I  do  not  propose  to  allow  him  to  have  the 
book.  14.  Do  you  play  the  violin.^  15.  There 
was  not  a  single  ship  on  the  horizon.  IG.  ^^  ho 
is  your  authority  for  the  statement.^  17.  I 
have   the   official   report   of   the   association. 

18.  You    look    very    forlorn    this    afternoon. 

19.  The  lake  was  like  a  mirror  this  morning 
early.  20.  I  heard  a  rumor  that  you  were 
going  to  move  out  west.  21.  Will  you  row 
me  across  the  river?  22.  Were  you  very 
much  surprised  to  find  me  here.'* 


Relaxed  Movements,    Tending,  when    Un- 
accented, to  Become  Relaxed-Medium 

210.  The  accented  and  unaccented  vowels 
occurring  in  this  group  may  be  represented 
by  the  words:  ?/p,  ?/pon;  far,  sofa;  con,  con- 
vince. 


LESSONS  ON  THE  MOVEMENTS    241 


j^ll. 

Practise  Words 

i^pon 

precioiis 

parade 

wntil 

illustrioi/s 

barometer 

suppose 

spontaneous 

confer 

swcceed 

sofa 

confession 

suggestion 

drama 

commission 

sufficient 

gorilla 

objection 

discz/s 

papa 

oppose 

lusciows 
312. 

papa 

Sentences 

occur 

1.  Upon  my  word,  I  never  thought  of  that. 

2.  I  will  wait  here  until  the  sun  goes  down. 

3.  What  do  you  suppose  they  will  say  when 
they  hear  the  news?  4.  If  you  would  succeed, 
you  must  persist.  5.  Have  you  any  suggestions 
to  make  for  the  party?  G.  There  will  be 
sufficient  time  to  jBnish  everj'thing.  7.  That 
was  a  luscious  peach  I  had  for  lunch.  8.  She 
lost  two  of  the  precious  stones  from  her  ring. 
9.  Longfellow  was  the  most  illustrious  of  our 
American  poets.  10.  The  fire  was  caused  by 
spontaneous  combustion.  H.  Both  of  them 
sat  on  the  sofa  together.  12.  I  saw  a  gorilla 
at  the  menagerie  yesterday.  13.  The  little 
boy  kissed  his  papa  good-bye.     14.  All  the 


242  LIP-READING 

children  ran  to  see  the  circus  parade.  15.  The 
barometer  fell  very  low  last  night.  16.  Vse 
must  confer  as  to  the  best  course  to  pursue. 

17.  Honest  confession  is  good  for  the  soul. 

18.  Have  you  any  objection  to  my  going  with 
you.^  19.  I  shall  not  oppose  your  going  if  you 
wish  to.  20.  I  hope  you  will  not  let  that 
occur  again. 


Extended  Movements,  Tending,  ivhen  Un- 
accented, to  Become  Relaxed-Medium 

213.  The  accented  and  unaccented  vowels 
occurring  in  this  group  may  be  represented 
by  the  words:  able,  ability;  add,  advance. 


214. 

Practise 

Words 

ability 

facility 

affirm 

workman 

above 

casino 

appear 

musical 

about 

advance 

again 

distant 

215.  Sentences 

1.  She  has  a  great  deal  of  literary  ability. 
2.  The  new  house  is  just  beginning  to  show 


LESSONS  ON  THE  MOVEMENTS    243 

above  ground.  3.  I  will  meet  you  at  the  office 
at  about  twelve  o'clock.  4.  Have  you  any 
facility  with  carpenter's  tools.''  5.  I  should 
like  to  have  you  go  with  me  to  the  casino  to- 
night. 6.  You  are  advancing  very  rapidly 
in  your  work.  7.  I  will  affirm  the  truth  of  the 
statement  positively.  8.  You  appear  to  be 
having  a  good  deal  of  trouble.  9.  All  the 
King's  horses  and  all  the  King's  men  couldn't 
put  Humpty  Dumpty  together  again.  10.  The 
man  who  helped  me  was  a  very  good  work- 
man. 11.  Have  you  any  musical  talent. ^^ 
12.  How  far  is  the  moon  distant  from  the 
earth? 


Lost  Unaccented  Vowels 

216.  There  are  some  words  in  which  the 
unaccented  vowel  is  either  lost  or  so  slightly 
pronounced  as  to  show  no  movement,  as 
"poison"  becomes  "pois'n." 


217.  Practise  Words 

poison  pleasant      mission        nation 

lesson  fasten  ocean  legion 


244  LIP-READING 

218.  Sentences 

1.  The  bottle  was  marked  "poison.'*  2.  I 
hope  that  will  be  a  lesson  to  you.  3.  We  had 
very  pleasant  weather  for  the  journey.  4.  Will 
you  help  me  fasten  my  skates  on.^  5.  Have 
you  any  special  mission  in  going  to  Chicago.'^ 
6.  "My  bonnie  lies  over  the  ocean."  7.  "The 
fate  of  a  nation  was  riding  that  night."  8. 
There  was  a  legion  of  flies  in  the  house. 


SECOND  OUTLINE  OF  DAILY  PRACTISE, 
THROUGH  SECTION  VI 

This  work  consists  of  practise  from  material 
given  in  Sections  I,  IV,  \  and  VI.  The  review 
and  the  lesson  for  the  day  from  each  section 
as  practised  with  assistant  may  be  taken 
consecutively  if  desired.  For  such  practise, 
given  an  hour  for  the  work,  divide  the  time 
approximately  as  follows: 

From  Section  1 20  minutes 

From  Section  IV 15  minutes 

From  Section  V 10  minutes 

From  Section  VI 15  minutes 

This  limit  of  time  is  not  mtended  to  be  in- 
flexible; modifications  according  to  the  pupil 
will  often  have  to  be  made.  But  as  a  rule  I 
find  it  unwise  to  spend  more  than  15  consecu- 
tive minutes  on  any  work  from  Section  IV. 

A.  Review  with  assistant  (all  review  prac- 
tise should  be  rapid). 
I.    From  Section  I. 

a.   The  Story.    Same  as  in  first  outline, 
p.  94. 

245 


246  LIP-READING 

II.  From  Section  IV. 

a.  Exercises.  Follow  specific  directions 
for  review  given  under  each  exercise. 

III.  From  Section  V. 

a.  Colloquial  Sentences  and  Forms.  The 
sentences  should  be  reviewed  as  read 
rapidly  and  skipping  around.  The 
forms  should  be  reviewed  for  the 
special  form  indicated,  the  assistant 
following  the  method  described  for 
mirror  practise. 

IV.  Fro:\i  Section  VI. 

a.  Ilomophcnous  Words.  These  should 
be  reviewed  in  the  same  manner 
as  previously  practised  in  the  les- 
son for  the  day. 

B.  Lesson  for  the  Day. 
I.    From  Section  I. 

a.  TJie  Story.  Follow  same  method  as 
directed  in  first  outline,  p.  95,  ex- 
cept that  in  the  skipping  around 
practise,  two  or  even  three  stories 
should  be  used,  skipping  back  and 
forth  from  one  to  the  other.  See 
also  advice  under  C  in  first  outline, 
p.  99. 


OUTLINE  OF  DAILY  PRACTISE     247 

II.  From  Section  IV. 

a.  Exercises.  Follow  specific  directions 
given  under  each  exercise. 

III.  From  Section  V. 

a.  Colloquial  Sentences  and  Forms. 
Take  from  ten  to  twenty  sentences  for 
a  lesson.  Do  not  take  up  the  forms 
until  the  sentences  and  proverbs  have 
been  completed.  Take  one  form, 
with  all  sentences  written  or  sug- 
gested thereunder,  for  a  lesson. 

IV.  From  Section  \l. 

a.  Ilomophenous  Words.  Practise  as 
directed. 

V.  Conversation  Practise.     See  Chap- 

ter IV. 

VI.  From  Sections  I,  IV  and  V. 

a.  Mirror  practise  should  follow  and 
supplement  the  work  under  these 
sections  done  with  assistant.  Di- 
rections for  each  are  given  in  their 
proper  places. 

C.  Preparation  for  the  New  Lesson. 
I.    From  Section  I. 

a.  TJie  Story.  See  first  outline  under 
C,p.  99. 


248  LIP-READING 

II.  From  Section  IV. 

a.  Exercises.  Mirror  practise  as  di- 
rected. 

III.  From  Section  V. 

a.  Colloquial  Sentences  and  Forms.  The 
sentences  and  proverbs  should  not 
be  practised  or  even  read.  The 
forms  should  be  practised  with  mir- 
ror as  directed. 

IV.  From  Section  VI. 

a.  Ilomophenons  Words.  The  pre- 
liminary preparation  for  the  pupil, 
before  practise  with  assistant,  is 
described  under  this  section,  see 
D.  304. 


SECTION  IV 

EXERCISES 

219.  The  exercises  in  this  section  of  the 
work  are  intended  for  eye  training;  they  there- 
fore provide  particularly  good  material  for 
mirror  practise.  The  pupil  and  the  assistant 
must  observe  always  the  caution  to  speak 
naturally,  without  undue  emphasis,  and  as 
rapidly  as  the  pupil's  skill  permits.  Fifteen 
minutes  is  usually  enough  to  spend  at  one 
time  on  such  eye  training  as  this  section 
gives. 

Vowel  Exercises 

320.  Chapter  VII  gives  the  classification 
of  the  vowel  movements,  A^owels,  it  will  be 
remembered,  are  divided  into  three  groups, 
the  puckered,  the  relaxed,  and  the  extended. 
Under  each  group  we  have  a  narrow  opening 
between  the  lips,  a  medium  opening,  and  a 
ivide  opening.  The  following  table  groups  the 
vow^el    sounds    according    to    these    classes; 

2i9 


250  LIP-READING 

diphthongs  are  given  in  parenthesis  under  that 
classification  to  which  their  radical  element 
belongs. 

Puckered    Relaxed    Extended 

Narrow      ob  (u)  i  e 

Medium     06  ii  ^  (a) 

Wide  aw  (o,  oy)  ah  (ow,  1)  a 

It  will  facilitate  the  correct  pronunciation 
of  these  vowel  sounds,  and  hence  their  proper 
study,  if  they  are  incorporated  in  words,  as 
follows : 

Puclcered     Relaxed     Extended 

Narrow      coon  kid  keen 

Medium     good  cut  get 

Wide  cawed  cart  cat 

Tlie  first  step  in  the  study  of  these  words  is 
for  the  pupil  to  try  them  on  his  own  mouth, 
watching  in  the  miiTor  the  formation  of  the 
vowels.  Com})arc  the  formation  on  the  lips 
with  the  (lescrii)tion  given.  When  you  have 
satisfied  yourself  that  you  can  see  the  in- 
dicated cluiracterislics  of  each  vowel  move- 


EXERCISES  251 

ment  (never  mind  the  consonants  for  the 
present),  then  proceed  as  follows:  Pronounce 
the  three  words  of  the  puckered  group  one 
after  the  other,  and  watch  on  your  own  lips 
in  the  mirror  the  difference  between  the  nar- 
row, the  medium,  and  the  wide  openings  be- 
tween the  upper  and  lower  lips.  Speak  the 
words  rather  quickly  and  without  any  undue 
emphasis  or  exaggeration.  Then  say  the  same 
words  again  in  reverse  order,  then  in  several 
different  orders,  over  and  over,  until  you  feel 
that  you  have  mastered  theoretically  at  least 
the  peculiarities  of  the  puckered  vowels. 
Then  try  the  words  of  the  relaxed  group,  and 
then  those  of  the  extended  group  in  the  same 
manner. 

Now  take  the  three  w^ords  in  the  narrow 
group,  "coon,  kid,  keen,"  and  watching  your 
mouth  in  the  mirror,  observe  the  difference 
between  the  puckered  movement,  the  relaxed, 
and  the  extended.  Sa^"  the  same  words  again 
in  reverse  order,  then  in  several  different 
orders,  over  and  over,  until  you  feel  that 
you  have  mastered  the  differences  between 
the  narrow  vowels.  Then  try  the  words  of 
the  medium  group,  and  then  those  of  the  wide 
group  similarly. 


252  LIP-READING 

Your  method  of  practising  these  words 
with  an  assistant  is  in  part  like  to  the  method 
of  practising  them  with  the  mirror.  That  is, 
let  your  assistant  read  to  you,  three  at  a 
time,  the  words  of  the  puckered  group,  over 
and  over,  in  many  different  orders,  while  you 
repeat  the  words  after  him.  Then  practise 
the  relaxed  group,  then  the  extended,  then 
the  narrow,  then  the  medium,  and  then  the 
wide,  in  the  same  way.  In  all  of  this  practise 
your  assistant  should  speak  fairly  rapidly, 
inaudibly,  and  should  go  over  the  words  re- 
peatedly until  you  have  mastered  them. 
When  you  have  truly  mastered  the  words  in 
their  groups,  then  your  assistant  should 
practise  with  you  three  words  at  a  time, 
^skipping  around  from  group  to  group,  until 
you  can  get  all  readily  and  quickly  in  this  way. 

You  will  not  accomplish  such  mastery  in  one 
day  or  ten.  But  by  keeping  at  it  you  ought 
to  be  able  in  time  to  be  sure  of  all  the  vowels 
except  short  i,  which  is  the  hardest  of  them  all, 
and  perhaps  also  long  e  and  short  e. 

The  vowels  in  the  exercises  below  are  com- 
bined, both  after  and  before,  with  all  the 
fundamenlal  consonant  movements.  Prac- 
tise as  directed  above,  taking  one  or  two  com- 


EXERCISES 


2o3 


plete  groups,  as  indicated  by  the  numbers, 
for  a  lesson.  The  review  work  on  these 
exercises,  from  lesson  to  lesson,  should  con- 
sist chiefly  of  the  practise  with  assistant  of 
three  words  at  a  time,  skipj)ing  around  from 
group  to  group,  the  pupil  repeating.  As 
proficiency  is  gained,  four  and  then  five  words 
at  a  time  may  be  practised  in  this  way. 


(1)  boot 

bit 

beet 

hoop 

hip 

heap 

book 

but 

bet 

hoop  (?)  up 

ebb 

pawn 

bare 

bat 

orb 

arm 

am 

(2)  food 

fit 

feet 

hoof 

if 

eve 

foot 

fun 

fed 

\io6i{^)    huff 

deaf 

fawn 

far 

fat 

cough 

carve  have 

(3) 

vou 

yi 

n 

ye 

y< 

Dung 

yet 

yaw 

y< 

irn 

yak 

(4)  coon 

kid 

keen 

duke 

ink 

eke 

good 

cut 

get 

cook 

hug 

^Qg 

cawed  cart 

cat 

auk 

ark 

hag 

(5)  toot 

tin 

tea 

hoot 

it 

eat 

took 

tuck 

ten 

hood 

hut 

end 

dawn 

tar 

tan 

awed 

art 

add 

254 


LIP-READING 


(6)  loot 

lit 

lean 

cool 

ill 

eel 

look 

luck 

let 

pull 

hull 

ell 

lawn 

lard 

lad 

awl 

Carl 

Hal 

(7)  thew 

thin 

thee 

tooth 

kith 

teeth 

thug- 

then 

doth 

death 

thaw  thar  that 

(8)  zoo  sit       seat 

sook  sun     set 

saw  sard   sat 


north  hearth    hath 

ooze  is        ease 

puss  us       guess 

awes  cars    as 


(9) 


rue       rid 
rook     run 
raw      rah 


reed 

red 

rat 


(10) 


wooed 

wood 

wart 


wit 

won 

what 


weed 

wet 

whack 


(11)  shoot    shin     sheet 
should  shun     shed 
short    shard   shad 


douche  itch  each 
push  hush  edge 
torch        harsh    ash 


EXERCISES  255 

Consonant  Exercises 

231.  In  the  following  exercise  material  is 
given  for  the  study  of  the  consonant  move- 
ments before  vowels: 

back,  fag,  whack;  fag,  whack,  rack; 
whack,  rack,  sack;  rack,  sack,  shack; 
sack,  shack,  thank;  shack,  thank,  lack; 
thank,  lack,  tack;  lack,  tack,  yak;  tack, 
yak,  gag. 

Studv  these  words  with  the  mirror,  in  the 
following  manner:  Take  the  three  words  of 
the  first  group,  "back,  fag,  whack."  Ob- 
serve closely  the  differences,  wdiich  you  will 
notice  lie  solely  in  the  initial  consonants, 
the  h,  f,  and  ivh.  Repeat  the  words  in  direct 
order,  reverse  order,  and  several  different 
orders,  until  these  consonant  movements 
are  thoroughly  learned.  Then  practise  the 
next  group  of  three,  "fag,  whack,  rack,"  in 
the  same  way;  and  so  on  with  each  group. 

You  will  then  be  ready  to  try  them  with  your 
assistant;  the  method  for  doing  so  is  similar 
to  the  method  for  mirror  practise;  that  is, 
the  assistant  should  read  to  you  the  three 
words  of  a  group,  going  over  and  over  them, 
each  time  changing  the  order,  until  you  can 


2oG  LIP-READING 

repeat  them  readily  and  quickly.  Then 
try  three  words  skipping  around,  changing 
them  from  different  groups. 

It  is  important,  both  in  mirror  practise  and 
in  practise  with  assistant,  that  the  words  of  a 
group  should  not  be  pronounced  slowh% 
word  by  word,  but  rapidly,  the  three  words  to- 
gether. 

The  words  of  the  first  five  groups  can  be 
learned  perfectly.  The  real  difficulty  will 
begin  wdth  the  introduction  of  I  in  the  sixth 
group.  The  seventh,  eighth,  and  ninth  groups 
are  all  hard  and  cannot  be  learned  with  ab- 
solute perfection.  The  ninth  group  particu- 
larly is  so  hard  as  to  make  impossible  any  high 
degree  of  accuracy;  for  these  consonants  are 
the  ones  that  must  frequently  be  told  by  the 
context. 

Complete  material  for  these  consonant 
exercises  is  given  below,  using  the  eleven 
fundamental  consonant  movements  in  com- 
bination with  the  nine  fundamental  vowel 
movements,  both  as  initial  and  as  final  ele- 
ments; consonants  w  nnd  ?/  are  never  final 
sounds,  and  final  r  is  usually  so  slurred  as  to 
show  IK)  movement,  nnd  so  u\  ?/,  and  r  are 
omitted    as    final    elements    in    the   following 


EXERCISES  257 

exercises.  Practise  as  above,  taking  two  to 
four  complete  groups,  as  indicated  by  the 
numbers,  for  a  lesson.  The  review  work  on 
these  exercises,  from  lesson  to  lesson,  should 
consist  chiefly  of  the  jjractise  with  assistant 
of  three  words  at  a  time,  skipping  around  from 
group  to  group,  the  pupil  repeating.  As  pro- 
ficiency is  gained,  four  and  then  five  words 
at  a  time  may  be  practised  in  this  way. 

(1)  back,  fag,  whack;  fag,  whack,  rack; 
whack,  rack,  sack;  rack,  sack,  shack; 
sack,  shack,  thank;  shack,  thank,  lack; 
thank,  lack,  tack;  lack,  tack,  yak; 
tack,  yak,  gag. 

(2)  am,  have,  has;  have,  has,  hash;  has, 
hash,  hath;  hash,  hath,  Ilal;  hath, 
Hal,  hat;     Hal,  hat,  hag. 

(3)  bard,  far,  what;  far,  what,  rah;  what, 
rah,  sard;  rah,  sard, shard;  sard, shard, 
thar;  shard,  thar,  lard;  thar,  lard,  tart; 
lard,  tart,  yard;     tart,  yard,  card. 

(4)  arm,  carve,  cars;  carve,  cars,  harsh; 
cars,  harsh,  hearth;  harsh,  hearth,  Carl; 
hearth,  Carl,  art;     Carl,  art,  ark. 


258  LIP-READING 

(5)  paw,  for,  war;  for,  war,  raw;  war,  raw, 
saw;  raw,  saw,  short ;  saw,  short,  thaw; 
short,  thaw,  law;  thaw,  law,  daw;  law, 
daw,  yawn;     daw,  yawn,  caw. 

(6)  orb,  cough,  awes;  cough,  awes,  torch; 
awes,  torch,  north;  torch,  north,  all; 
north,  all,  awed;     all,  awed,  auk. 

(7)  bet,  fed,  wet;  fed,  wet,  red;  wet,  red, 
set;  red,  set,  shed;  set,  shed,  then; 
shed,  then,  let;  then,  let,  ten;  let,  ten, 
yet;    ten,  yet,  get. 

(8)  ebb,  deaf,  guess;  deaf,  guess,  edge; 
guess,  edge,  death;  edge,  death,  ell; 
death,  ell,  end;     ell,  end,  egg. 

(9)  pun,  fun,  won;  fun,  won,  run;  won, 
run,  sun;  run,  sun,  shun;  sun,  shun, 
thug;  shun,  thug,  luck;  thug,  luck, 
tuck;  luck,  tuck,  young;  tuck,  young, 
cut. 

10)  up,  huff,  us;  huff,  us,  hush;  us,  hush, 
doth;  husli,  doth,  hull;  doth,  hull, 
hut;     hull,  hut,  hug. 


EXERCISES  259 

(11)  book,  foot,  wood;  foot,  wood,  rook; 
wood,  rook,  sook;  rook,  sook,  shook; 
sook,  shook,  look;  shook,  look,  took; 
look,   took,   cook. 

(12)  (hoop,  hoof)*;  puss,  push,  pull;  push, 
pull,  put;     pull,  put,  book. 

(13)  bee,  fee,  w^ee;  fee,  wee,  reed;  wee, 
reed,  see;  reed,  see,  she;  see,  she, 
thee;  she,  thee,  lee;  thee,  lee,  tea; 
lee,  tea,  ye;     tea,  ye,  key. 

(14)  heap,  eve,  ease;  eve,  ease,  each;  ease, 
each,  teeth;  each,  teeth,  eel;  teeth, 
eel,  eat;     eel,  eat,  eke. 

(15)  bit,  fit,  wit;  fit,  wit,  rid;  wit,  rid,  sit; 
rid,  sit,  shin;  sit,  shin,  thin;  shin,  thin, 
lit;  thin,  lit,  tin;  lit,  tin,  yin;  tin, 
yin,  kin. 

(16)  hip,  if,  is;  if,  is,  itch;  is,  itch,  kith; 
itch,  kith,  ill;     kith,  ill,  it;     ill,  it,  ink. 

*  The  vowel  in  this  group  is  commonly  long  oo,  but  sometimes 
is  heard  as  short  oo. 


260  LIP-READING 

(17)  boot,  food,  wooed;  food,  wooed,  rued; 
wooed,  rued,  sued;  rued,  sued,  shoot; 
sued,  shoot,  thew;  shoot,  thew,  loot; 
thew,  loot,  toot;  loot,  toot,  you;  toot, 
you,  coot. 

(18)  hoop,  hoof,  ooze;  hoof,  ooze,  douche; 
ooze,  douche,  tooth;  douche,  tooth,  tool; 
tooth,  tool,  toot;     tool,  toot,  duke. 


Double  Consonant  Exercises 

222.  The  object  of  the  following  exercises 
is  drill  in  observing  the  use  or  omission  of 
certain  more  difficult  consonants  when  com- 
bined with  other  consonants.  In  the  first 
exercises,  for  example,  the  student  watches 
for  the  use  or  omission  of  r  (puckered-corncrs) 
in  the  couplets  "three,  thee,"  etc.  Practise 
them  before  the  mirror,  taking  only  the  two 
words  of  a  couplet  at  a  time,  and  observing 
the  movement  for  the  r.  Practise  them  with 
your  assistant,  by  couplets,  each  couplet 
being  given  several  times  in  direct  and  reverse 
order,  while  you  concentrate  your  attention 
on  the  puckered-corncrs  movement  for  the  r. 


EXERCISES  261 

To  facilitate  your  doing  this,  practise  in  these 
two  ways:  First,  do  not  try  to  see  the  vowels 
at  all;  simply  watch  for  the  r,  and  tell  your 
assistant  whether  you  see  it  in  the  first  or 
second  word.  Second,  repeat  the  couplets 
after  your  assistant  as  he  reads  them  to  you. 

In  reviewing  these  exercises  with  your 
assistant,  have  them  given  to  you  thus:  "thee, 
three,  thee,"  "three,  thee,  thee,"  "thee, 
three,  three,"  etc.    You  should  repeat  them. 

323.  To  watch  for  r: 

(1)  three,  thee;  thray,  they;  thrash,  than; 
thrill,  thill;  thrum,  thumb;  thrive,  thy; 
through,  thew;     thraw,  thaw. 

(2)  cree,  key;  gray,  gay;  crap,  cap;  crick, 
kick;  crumb,  cup;  cry,  guy;  crew, 
coo;     crook,   cook;     craw,   caw. 

(3)  tree,  tee;  dray,  day;  track,  tack; 
trick,  tick;  truck,  tuck;  try,  tie;  true 
too;     draw,   daw. 

(4)  free,  fee;  fray,  fay;  frank,  fag;  frill, 
fill;  front,  fun;  fry,  fie;  fruit,  food; 
fraw,  faw. 


262  LIP-READING 

(5)  bree,  bee;  bray,  bay;  brat,  bat;  prick, 
pick;  brung,  bug;  pry,  pie;  brew, 
boo;     brook,   book;     braw,  paw. 

(6)  shree,    she;        shray,    shay;        shrank, 
shank;     shrimp,     ship;     shrug,     shuck; 
shrine,  shy;     shrew,  shoe;     shraw,  shaw. 

334.  To  watch  for  I: 

(1)  glee,  key;  clay,  gay;  clap,  cap,  click, 
kick;  club,  cub;  glide,  guy;  clue, 
coo ;     claw,    caw. 

(2)  flee,  fee;  flay,  fay;  flag,  fag;  flip,  fib; 
flush,  fudge;  fly,  fie;  flew,  foo;  flaw, 
faw. 

(3)  pica,  pea;  play,  pay;  black,  back; 
blink,  big;  plug,  pug;  ply,  pie;  blew, 
boo;     plaw,  paw. 

(4)  slee,  see;  slay,  say;  slag,  sag;  slick, 
sick;  slung,  sung;  sly,  sigh;  slew,  soo; 
slaw,  saw. 

335.  To  watch  for  s: 

(1)  skce,  key;  scay,  gay;  scat,  cat;  skit, 
kit;  scum,  cup;  sky,  guy;  scoo,  coo* 
scaw,  caw. 


EXERCISES  263 

(2)  spee,  pea;  spay,  pay;  spat,  pat;  spit, 
pit;  spunk,  punk;  spy,  pie;  spoo, 
poo;     spaw,  paw. 

(3)  swee,  we;  sway,  way;  swag,  whack; 
swig,  wig;  swung,  won;  swine,  why; 
swoo,  woo;     swaw,  waw. 

(4)  slee,  lee;  slay,  lay;  slag,  lag;  slick, 
lick;  slug,  luck;  sly,  lie;  sloo,  loo; 
slaw,  law. 

(5)  stee,  tee;  stay,  day;  stack,  tack; 
stick,  tick;  stuck,  tuck;  sty,  tie;  stoo, 
too;     stood,  took;     staw,  daw. 

22C>.  To  watch  for  t  (or  d) : 

(1)  tree,  ree;  tray,  ray;  track,  rack;  trick, 
rick;  truck,  rug;  try,  rye;  true,  rue; 
draw,  raw. 

(2)  stee,  see;  stay,  say;  stack,  sack; 
sting,  sing;  stung,  sung;  sty,  sigh; 
stoo,  soo;     stood,  sook;     staw,  saw. 

22 T.  To  watch  for  Jc  (or  hard  c,  or  hard  g): 
(1)     cree,  ree;     cray,  ray;     crag,  rag;     crick, 
rick;        crumb,   rum;     cry,    rye;     crew, 
rue;     crook,  rook;     craw,  raw. 


264  LIP-READING 

(2)  skee,  see;  scay,  say;  scat,  sat;  skit, 
sit;  scum,  sum;  sky,  sigh;  scoo,  soo; 
scaw,  saw. 

(3)  glee,  lee;  clay,  lay;  clack,  lack;  click, 
lick;  cluck,  luck;  glide,  lie;  clue,  loo; 
claw,  law. 


Double  Consonant  Contrast  Exercises 

238.  The  object  of  the  following  exercises 
is  to  watch  for  the  change,  in  double  conso- 
nants, from  one  consonant  movement  to  an- 
other. Practise  them  before  the  mirror,  tak- 
ing them  by  couplets,  and  contrasting  the 
movements  for  the  indicated  sounds.  Also 
practise  them  with  an  assistant. 

In  practising  with  an  assistant,  the  pupil 
concentrates  first  on  the  movement  for  one 
of  the  contrasted  sounds,  then  on  the  other, 
and  then  on  both.  For  ex'ample,  in  the  first 
exercise,  the  pupil  concentrates  on  the  move- 
ment for  r  and  tells  whether  it  occurs  in  the 
first  or  second  word  of  the  couplet;  then  he 
concentrates  similarly  for  /;  then  he  repeats 
the  couplets. 


EXERCISES  2C5 

Review  by  triplets  with  assistant  In  the 
manner  directed  in  paragraph  222. 

229.  To  watch  for  the  change  from  r  to  I: 

(1)  bree,  plea;  pray,  play;  prank,  plank; 
brink,  blink;  brung,  plug;  pry,  ply; 
brew,  blew ;     braw,  plaw. 

(2)  free,  flee;  fray,  flay;  frank,  flank;  frill, 
flit;  front,  flunk;  fry,  fly;  froo,  flew; 
fraw,  flaw. 

(3)  cree,  glee;  cray,  clay;  crank,  clank; 
crick,  click;  crumb,  club;  cry,  glide; 
crew,  clue;     craw,  claw. 

2.30.  To  watch  for  the  change  from  s  to  k 
(or  hard  c,  or  hard  g) : 

(1)  slee,  glee;  slay,  clay;  slack,  clank; 
slick,  click;  slung,  clung;  sly,  glide; 
slew,  clew;     slaw,  claw. 

To  watch  for  the  change  from  t  to  /; 

(2)  stee,  slee;  stay,  slay;  stag,  slag;  stick, 
slick;  stung,  slung;  sty,  sly;  stoo, 
sloo;     staw,   slaw. 


266  LIP-READING 

231.  To  watch  for  the  change  from  t  (or  d) 
to  h  (or  hard  c  or  hard  g) : 

(1)  tree,  cree;  tray,  cray;  track,  crack; 
trick,  crick;  trump,  crumb;  try,  cry; 
true,  crew;     draw,  craw. 

(2)  stee,  skee;  stay,  scay;  stab,  scab; 
still,  skill;  stuck,  skunk;  sty,  sky;  stoo, 
scoo;     staw,  scaw. 


Vowel  Exercises  in  Sentences 

232.  The  object  of  the  following  exercises 
is  drill  with  those  vowel  sounds  most  likely 
to  be  confused.  In  the  order  of  the  similarity 
of  their  movements,  the  sounds  are:  mv,  as 
in  "awl,"  (puckered-wide) ;  ur,  as  in  "turn," 
(puckered-corners) ;  o6,  as  in  "hook,"  (puck- 
ered-medium) ;  li,  as  in  "hut,"  (relaxed- 
medium);  t,  as  in  "hit,"  (relaxed-narrow) ; 
e,  as  in  "he,"  (extended-narrow);  c,  as  in 
"bet,"  (extended-medium);  a,  as  in  "ale," 
(extended-medium — relaxed-narrow);  a,  as  in 
"bat,"  (extended-wide);  and  J,  as  in  "high," 
(relaxed-wide — relaxed-narrow).     Short  c  and 


EXERCISES  267 

long  a  are  practically  the  same  in  rapid  speech; 
though  in  slower  speech  a  difference  may  be 
seen.  See  paragraph  1G3.  Words  have  been 
chosen  in  which  the  movements  for  these 
sounds  are  the  only  movements  changed; 
occasional!}'  it  has  been  necessary  to  use 
manufactured  words  with  phonetic  spelling; 
and  occasionally',  too,  obscure  consonants, 
such  as  t  and  k,  have  been  used  interchange- 
ably in  the  same  groups.  These  words  have 
been  put  in  a  sentence,  the  sentence  remain- 
ing unchanged  throughout  each  exercise  except 
for  the  one  change  of  movement  in  the  chosen 
word. 

In  practising  these  exercises  before  the  mir- 
ror, always  pronounce  the  whole  sentence, 
but  concentrate  attention  on  the  particular 
vowel  movement  indicated. 

In  practising  with  an  assistant,  he  reads 
the  sentences,  rapidly  and  naturally,  while  the 
pupil  repeats  them.  Have  each  exercise  read 
first  in  order,  and  then  repeated  promiscuously 
a  number  of  times  until  w^ell  mastered.  The 
words  should  always  be  given  in  their  sentences, 
and  never  alone  by  themselves.  The  review 
with  the  assistant  should  be  done  in  the  same 
manner. 


268 


LIP-READING 


(1)  The  auk  is  large.     (2)  The  pawn  is  black. 


"     irk     " 

a 

"    burn   "      " 

"     hook" 

<e 

"    put      "       " 

"     hug   " 

a 

"    bun     "      " 

"     ink    " 

<( 

"    bin      "      " 

"     eke    " 

ti 

"    bean   "      " 

"     egg    " 

(e 

*'    pen     "      " 

"     ache" 

i( 

pane 

"     hag   " 

a 

pan 

"     Ike    " 

(C 

"    pine    "      " 

'he  fawn  is 

pretty. 

(4)  My  yawn  is  dee 

"     fern    " 

yearn  " 

"     foot    " 

"    young"      " 

"     fun     " 

"    yin      "      " 

"     fin      " 

"    yeen    "      " 

"     feat    " 

"    yet      "      " 

"    fen     " 

"    yane   "      " 

"     fane   " 

"    yak     "      " 

"     fan     " 

"    yarn    "      " 

"    fine    " 

EXERCISES 


269 


(5)  I  caught  ten  fish.   (G)  The  talk  of  the  town. 


'  curt 
'  cook 
'cut 
'kid 
'  keen 
'get 
'  gain 
'  cat 
'  kite 


a 


dirk  ' 
took  ' 
tuck ' 
tick 
teak ' 
deck ' 
take' 
tack  ' 
dike' 


(7)  The  lawn  is  wet.  (8)  Your  thought  is  good. 


i( 


ti 


learn 

look 

luck 

lit 

leed 

let 

lane 

lad 

line 


third 

thud 

thin 

theen 

then 

thane 

than 

thine 


<( 


270 


LIP-RE  ADIAG 


(9)  He  sawed  the  wood.  (10)  He  wrought  it  well. 


surd 

rook         ' 

sook 

rut            ' 

sun 

rid            ' 

sit 

reed         ' 

seat 

red           ' 

set 

rate         * 

sate 

rat            * 

sat 

rite          ' 

site 

(11)  The  walk  is  hard.   (12)  He  jawed  the  man. 
word 
wood 
won 
wit 
weed 
wet 
wait 
wag 
wide 


shirt 

should 

shun 

shin 

sheen 

shed 

shade 

shad 

shied 

EXERCISES  271 

Consonant  Exercises  in  Sentences 

233.  The  object  of  the  following  exercises 
is  drill  with  those  consonant  sounds  most 
likel}^  to  be  confused.  In  the  order  of  the 
similarity  of  their  movements,  the  sounds  are: 
r  (puckered-corners) ;  I  (pointed-tongue-to- 
gum);  t,  dy  n  (flat-tongue-to-gum);  s,  z 
(tremor-at-corners) ;  y  (relaxed-narrow) ;  and 
h,  g,  ng  (throat  movement).  The  practise 
should  be  with  the  mirror,  and  with  an  as- 
sistant, as  directed  in  paragraj)h  232,  except 
that  these  exercises  are  drills  w  ith  consonants, 
while  the  former  were  drills  with  vowels. 
The  consonants  are  given  first  as  the  initial 
elements  in  the  words  chosen.  Remember 
that  the  words  should  always  be  given  in 
their  sentences,  and  never  alone  bv  themselves. 

These  exercises  should  be  developed  further 
bv  the  assistant  for  the  other  and  easier  con- 
sonants,  as  p  (h,  m),j  (v),  iv  (wh),  sh  {ch,  j), 
ill.  For  example,  in  the  first  exercise,  use,  in 
the  sentence,  these  words  also:  haclc,  fag, 
ivhack,  shack,  thank.  In  the  second  exercise, 
use  also:  bite,  fght,  ichite,  shied,  thine.  And 
so  on  for  the  other  exercises. 


272 


LIP-READING 


(1)  The  rack  is  strong. 
"    lack  " 
tack  " 
sack  " 
yak 


te 


gag 


it 
a 
tc 
<c 

(C 


(2)  The  right  is  mine. 


a 

light  " 

(< 

(( 

tight  " 

(( 

a 

site    " 

(( 

a 

kite   " 

<( 

(3)  Cook  the  raw  meat.  (4)  The  ray  is  bright. 

law      "  "     lay 

daw     "  "     day 

saw      "  *'     say 

yaw  yea 

caw     "  "     gay 


t( 
te 


a 

C( 

ee 


(5)  The  rung     is  broken.  (0)  The  rook  is  black. 


"    lung      " 

(( 

look  "       " 

"    tongue " 

(( 

took  "       " 

"    sung 

a 

sook  "       " 

"    young  " 

ee 

cook  "       " 

*'    gun 

(7)  A  ream  is  enough. 

(8) 

The 

rick  is  old. 

"  leap    *' 

<( 

(( 

lick  "    " 

"  team 

te 

ee 

tick  "    " 

"  seam  " 

ee 

f( 

sick"     " 

"  yecp  " 

(C 

te 

kick"    " 

**  keep 

<c 

EXERCISES  273 


(9)  The  route  is  long. 
"    loot    "     " 


toot 
"     suit     "      " 
"     coot    "      " 


334.  The  consonants  are  given  below  as  the 
final  elements  in  the  words  chosen.  Practise 
as  with  the  exercises  in  paragraph  233. 

Develop  these  exercises  by  practising  too 
for  final  p  (6,  m),  /  {v),  sh  {ch,  j),  th.  E.  g., 
in  the  first  exercise  use  also:  gap,  gaff,  gash, 
gath.     x\nd  so  on  for  the  other  exercises. 

(1)  The  gal  has  come.  (2)  The  tile  was  broken. 
"    cat    "       "  "    tide    " 

"    gas    "       ''  "    dice    "        " 

gag  dike 

(3)  The  marl  is  valuable.  (4)  The  doll  is  pretty. 
"    mart  "         "  "   dot    "      " 

"    mars  "         "  "   dock"      " 

"    mark" 


274  UP-READING 

(5)  The  pall    is  heavy.   (6)  The  bell  is  loud, 
pawn  bet 


pause 


it 


Bess 


''    balk    "     "  "    peck"    " 

(7)  The  mull  is  warm.  (8)  The  pull   is  stronge 
"    mud  "      "  "    put     "       " 

"    muss"      "  "    puss   "       " 


«( 


mm  "     "  "    book 


'& 


(9)  The  meal  is  ready.  (10)  The  mill  is  small. 
"    beet    "      "  "    mitt"      " 

"    peace"      "  "    miss"      " 

"    peak  "     "  "    pick"      " 

(11)  The  tool    is  sharp. 
"    toot     "      " 

noose 
"    dook  "      " 


EXERCISES  275 

Prefix  Exercises 

235.  The  object  of  the  following  exercises 
is  a  study  of  certain  prefixes  which  arc  com- 
monly confused.  Practise  with  the  mirror; 
also  with  an  assistant.  In  either  case,  the 
whole  sentence  should  always  be  pronounced; 
but  you  should  concentrate  your  attention 
on  the  prefix  indicated.    Review  in  same  way. 

(1)  You  may  emend  the  statement. 
"     depend    " 

The  effect  was  momentous. 
"     defect     " 

The  more  erect,  the  better, 
direct,  "        " 


((        (« 


He'll  be  exposed  tomorrow, 
disposed  " 

He  was  ejected  with  cause, 
dejected    "         " 

The  election    is  over, 
delection  " 

How  inane  the  book. 
"     detain  "       " 

The  egression  was  large, 
digression 


276  LIP-READING 

(2)  I've  amended       the  resolution. 
"     commended 

We  will  affirm  our  opinion. 
"       "    confirm  " 

I  have  a  relative  in  Dover. 
*'     "     correlative 

We  gave  assent   to  the  scheme. 
"      "     consent " 

Our  house  will  adjoin   yours. 
"        "         *'    conjoin 

Make  no  allusion   to  the  matter. 
"       "    collusion  " 


That  will  attain  our  desires, 
contain 


((       i(  .    _•_-   «<         «' 


Let  it  not  occur  agam. 
*'    "     *'    concur 


(3)  Don't  reprove   the  students, 
we  prove 

Don't  revere  him  too  much, 
we  tear 

Don't  resign  the  office, 
we  sign 


EXERCISES  277 

Don't  record  that  vote. 
**       we  cord 

Do  relieve   him  tomorrow. 
"    we  leave 

Do  retain  a  lawyer. 
"  we  deign 

Do  rejoin    our  party  in  Paris, 
we  jom 


Exercises  with  Verb  Endings 

336.  The  object  of  the  following  exercises 
is  a  study  of  the  verb  endings  that  are  com- 
monly confused.  Practise  as  directed  in 
paragraph  235. 

(1)  The  dog  treed    the  coon. 


(C 

"     treein 

g" 

(( 

(C 

"     trees 

i< 

n 

He  rapped  on 

the 

door. 

<( 

rapping  " 

a 

li 

iC 

raps 

li 

(( 

She 

;  vowed   vengeance. 

(( 

vowing 

te 

tt 

vows 

« 

278  LIP-READING 

The  man  hurried   home. 
"        "     hurrying 
**       "     hurries       " 

He  lied  to  me. 


"   lying 


lies 


The  man  received    the  letter. 

<<       <<  •   "   ^    <«        " 

receivmg 

ee  ((  '  (<  ti 

receives 


The  woman  rued  her  mistake, 
ruing 
"  rues 


The  dust  blurred   my  sight, 
blurring 
blurs 


The  traveler  viewed    the  river, 
viewing    *' 
"  views 


He  bathed  in  the  ocean. 
"   bathing"     " 
"   bathes   "     "        " 


EXERCISES  279 


(2) 

The 

wind  howled 

in  the  trees. 

i( 

(( 

howHng 

a      a 

a 

tt 

(t 

howls 

a      a 

a 

The 

man 

earned    a 

dollar. 

tt 

a 

earning  " 

a 

tt 

a 

earns 

a 

He  employed    the  laborer. 
"   employing 
"   employs 


The  agent  showed   his  goods. 
"        "      showing 
**        "      shows 


Baby  weighed    eleven  pounds, 
weiffhme: 


"      weighs 


doubting 

it         tt 


The  lawyer  doubted    the  witness. 
"       doubtir 
"       doubts 

The  sun  thawed  the  ice. 
"       "    thawing"     " 
"       "    thaws      "     " 


280  LIP-READING 

Life  used  him  well. 


using 


uses 


The  cat  watched    the  mouse  hole. 
"       "  watching     " 
"       "   watches 


The  boat  rocked    in  the  swell, 
rockir 
rocks 


"       "      rocking    "     "       " 


Suffix  Exercises 

237.  Drills  with  suffixes  may  be  obtained 
from  the  material  given  below  by  putting  the 
words  in  sentences.  The  words  are  given  by 
couplets,  as  "rub,  rubber,"  etc.;  the  drill  is 
to  observe  the  effect  of  the  addition  of  a 
suffix.  Remember,  this  work  should  be  studied 
not  with  the  words  alone,  but  with  the  words 
in  sentences,  which  the  student  may  readily 
compose  for  himself.  Practise  with  the  mir- 
ror; also  with  an  assistant. 

An  example  will  best  illustrate  the  method 
'of  giving  these  exercises.  Take  the  couplet, 
riih,  rubber.  Form  a  sentence  containing  rub, 
havinir  the  word  occur  in  the  middle  of  the 


EXERCISES  281 

sentence,  not  at  the  beginning  or  end.  E.  g., 
"Will  you  rub  that  out?"  Then  use  the 
same  sentence,  only  substituting  rubber  for 
rub,  as,  *'Will  you  rubber  that  out?"  Re- 
peat many  times.  The  other  couplets  should 
be  practised  similarly.  The  aim  is  of  course 
to  see  the  suffix  by  sight  and  not  by  sense. 
Review  with  assistant  in  same  manner. 

(1)  -er — rub,   rubber;        love,   lover;        cow, 

cower;  poor,  poorer;  mice,  miser; 
watch,  watcher;  with,  wither;  toil, 
toiler;  dine,  diner;  quick,  quicker; 
pretty,  prettier. 

(2)  -ly — home,  homely;     love,  lovely;     miser, 

miserly;  nice,  nicely;  fresh,  freshly; 
earth,  earthly;  pull,  pulley;  man, 
manly;    quick,  quickly;    ready,  readily. 

(3)  -en,  (-n) — damp,  dampen;     deaf,  deafen; 

care,  cairn;  poise,  poison;  fresh, 
freshen;  earth,  earthen;  fall,  fallen; 
bid,  bidden;     quick,  quicken. 

(4)  -y — worm,     wormy;      huff,     huffy;      fur, 

furry;  biz,  busy;  fish,  fishy;  earth, 
earthy;  pearl,  pearly;  red,  ready; 
trick,   tricky. 


SECTION  V 


COLLOQUIAL    FORMS 


238.  It  is  obviously  good  practise  to  train 
the  eye  to  catch  the  common  forms  and  ex- 
pressions which  pass  from  mouth  to  mouth 
again  and  again  in  a  day's  conversation.  They 
may  be  divided  into  two  classes,  first,  com- 
plete colloquial  sentences,  and,  second,  parts 
of  sentences,  forms  or  phrases. 

The  aim  in  studying  these  sentences  and 
forms  should  be  to  memorize  them;  that  is, 
to  commit  them  to  what  may  be  called  the 
visual  memory.  This  is  not  the  memory  that 
enables  us  to  recite  what  we  have  learned, 
but  that  which  enables  us  infallibly  to  recog- 
nize by  sight  o})jects  or  movements  studied. 
The  diamond  expert  takes  a  handful  of  un- 
mounted gems  and  by  color  or  form  or  the 
slightest  peculiarities  instantly  tells  one  from 
the  other;  whereas  the  untrained  eye  could  not 
pick  out  one  in  ten.  It  is  i)ractise  in  close 
observation  that  gives  the  eye  this  quickness 


COLLOQUIAL  FORMS  283 

and  sharpness  in  recognizing  the  particuhir 
object,  and  it  is  just  such  practise  that  the  Hp- 
reader  requires  in  the  study  of  these  colloquial 
forms. 

In  studying  the  sentences,  practise  them 
both  with  the  mirror  and  with  an  assistant, 
and  go  over  them  again  and  again.  The 
mirror  practise  should  be  done  according  to 
the  directions  in  Chapter  XI;  the  practise 
with  an  assistant  as  directed  in  Chapter  X, 
and  this  practise  should  preferably  precede 
the  mirror  practise. 

The  sentences  following  are  not  a  complete 
list;  such  a  list  would  be  impossible.  But  each 
of  them  wull  probably  suggest  one  or  several 
more,  which,  as  directed  in  the  chapter  on 
Sentence  Practise,  should  be  used  as  well  as 
the  original  sentences.  Practise  from  ten  to 
twenty  sentences  and  their  variations  for  one 
lesson. 

Colloquial  Sentences 

239.  1.  How  do  you  do. '^  2.  How  are  you. ^ 
3.  Good  morning.  4.  What's  vour  name.^ 
5.  Where  do  you  live.'^  6.  How  is  your 
mother?  7.  Have  you  been  ill.^  8. 1  have  a  cold. 
9,  Which  way  shall  I  go.^    10.  Where  are  you 


284  LIP-READING 

going?  11.  What  car  shall  I  take?  12.  What 
time  does  the  train  leave?  13.  What's  the 
matter?  14.  What's  up?  15.  I'm  tired. 
16.  I'm  thirsty.  17.  Will  you  get  me  a  glass 
of  water?  18.  Never  mind.  19.  Don't  trouble 
yourself.  20.  Did  you  hear  me?  21.  What 
did  you  say?  22.  I  didn't  say  so.  23.  What 
was  that?  24.  What  do  you  want?  25.  Is 
that  what  you  want?  26.  I'm  not  so  sure  of 
that.  27.  You  don't  say  so.  28.  That's  not  so. 
29.  What  will  you  bet?  30.  Please  hurry. 
31.  There's  time  enough.  32.  There's  time  to 
burn.  33.  What  time  is  it?  34.  I  haven't 
time  to-day.  35.  I'm  in  a  hurry.  36.  How 
much  time  have  you?  37.  Have  you  time 
enough?  38.  I'm  too  busy.  39.  Give  me 
time.  40.  Hurry  up.  41.  Don't  waste  so 
much  time.  42.  What  time  can  you  come? 
43.  It's  very  late.  44.  I  must  go  now. 
45.  Don't  be  in  a  hurry.  46.  Will  you  stay 
to  dinner?  47.  I'm  going  home.  48.  Come 
again.  49.  Come  and  see  us  soon.  50.  Are 
you  coming?  51.  I'm  not  ready.  52.  I'm 
going  away.  53.  May  I  go  with  you?  54.  I'll 
be  with  you  in  a  minute.  55.  Be  patient. 
56.  I'm  coming.  57.  We  shall  expect  you. 
58.  Did  you  receive  my  letter?    59.  Will  you 


COLLOQUIAL  FORMS  285 

mail  my  letter?  CO.  lias  the  mail  come? 
61.  Let  me  know  at  once.  C2.  Will  you  tele- 
phone? G3.  May  I  use  the  'phone?  64.  What 
can  I  do  for  you?  65.  You  are  very  kind. 
GG.  Let  me  help  you.  67.  I  can't  do  it.  68.  You 
might  try.  69.  You  can  do  it.  70.  That 
will  do.  71.  What  else  could  I  do?  72.  It's 
up  to  you.  73.  It's  very  tiresome.  74.  It's 
too  hard.  7-5.  It  isn't  worth  while.  76.  Let 
me  try.  77.  It's  no  use.  78.  I'll  do  my  best. 
79.  There's  nothing  to  do.  80.  Let's  try  again. 
81.  I  don't  want  to.  82.  Do  it  now.  83.  Don't 
put  it  off.  84.  It's  a  beautiful  day.  85.  It's 
very  warm  to-day.  86.  It's  snowing  hard. 
87.  It's  going  to  rain.  88.  Where  will  you 
spend  the  summer?  89.  Are  you  going  abroad? 
90.  When  do  you  sail?  91.  Have  you  ever 
been  abroad?  92.  Will  3'ou  be  gone  long? 
93.  Won't  you  write  to  me?  94.  Who  told 
you  so?  95.  I  told  you  so.  96.  Don't  you 
know?  97.  I  don't  know.  98.  I  don't  care. 
99.  What  do  you  expect?  100.  I  think  you're 
wrong.  101.  LIow  did  it  happen?  102.  I 
know  that.  103.  Who's  that?  104.  Did  you 
notice  that?  105.  What  are  you  doing  here? 
106. 1  think  so.  107.  Don't  do  that.  108.  Let's 
do  it.     109.  Oh,  that's  all  right.     110.  Where 


286  LIP-READING 

have  you  been?  111.  I  thought  you  were 
lost.  112.  I  haven't  seen  you  for  a  long  time. 
113.  Didn't  you  see  me.^  114.  I  didn't  see  you. 
115.  Shall  I  see  you  to-morrow.''  116.  Am  I 
in  the  way?  117.  That's  a  good  thing.  118.  I 
like  that.  119.  How  much  is  it?  120.  Shut 
the  window.  121.  Do  you  feel  a  draught? 
122.  Are  you  warm  enough?  123.  The  room 
is  very  warm.  124.  Will  you  go  for  a  walk? 
125.  Where  shall  we  go?  126.  Let's  walk  home. 
127.  I'm  going  by  the  subway.  128.  Here 
we  are.  129.  Where  are  we?  130.  Don't 
w^orry.  131.  Don't  forget.  132.  I  forgot  all 
about  it.  133.  Don't  bother  me.  134.  Have 
you  read  the  paper?  135.  A\  hat's  the  news? 
136.  I'm  glad  to  hear  it.  137.  Wait  a  minute. 
138.  She's  not  at  home.  139.  Will  you  call 
again?  140.  Do  you  know  him?  141.  Let 
me  see.  142.  Is  that  enough?  143.  It's  more 
than  enough.  144.  There's  more  to  come. 
145.  I'm  almost  through.  146.  I  want  some 
more.  147.  Are  there  any  more?  148.  May 
I  have  one?    149.  Is  that  all?    150.  That's  all. 


COLLOQUIAL  FORMS  287 

Proverbs 

240.  The  following  fuiniliar  proverbs  may  well  be 
studied;  take  ten  or  twenty  for  a  lesson.  Have  your 
assistant  give  the  proverb  and  when  understood  give 
a  variation.  Another  proverb  may  be  used  if  it  is  apt. 
For  review  have  your  assistant  read  the  proverbs 
studied  in  the  previous  lesson,  skipping  about  quickly 
from  one  to  the  other. 

1.  A  bird  in  the  hand  is  worth  two  in  the 

bush. 

2.  A  drowning  man  grasps  at  a  straw. 

3.  A  fool  and  his  money  are  soon  parted. 

4.  A  friend  in  need  is  a  friend  indeed, 

5.  A  good  beginning  makes  a  good  ending. 

6.  A  httle  knowledge  is  a  dangerous  thing. 

7.  A  miss  is  as  good  as  a  mile. 

8.  A  new  broom  sweeps  clean. 

9.  A  prophet  is  not  without  honor  save 

in  his  own  country. 

10.  A  rolling  stone  gathers  no  moss. 

11.  A  stitch  in  time  saves  nine. 

12.  A  thing  of  beauty  is  a  joy  forever. 

13.  All  is  fair  in  love  and  war. 

14.  All  is  not  gold  that  glitters. 

15.  All's  well  that  ends  well. 

16.  All  work  and  no  play  makes  Jack  a 

dull  boy. 

17.  As  the  twig  is  bent,  the  tree  is  in- 

clined. 


288  LIP-READING 

18.  Better  late  than  never. 

19.  Birds  of  a  feather  flock  together. 

20.  Children    should    be    seen    and    not 

heard. 

21.  Christmas  comes  but  once  a  year. 

22.  Coming    events    cast   their   shadows 

before. 

23.  Don't    count    your    chickens    before 

they  are  hatched. 

24.  Enough  is  as  good  as  a  feast. 

25.  Fine  feathers  make  fine  birds. 

2G.  Give  him  an  inch  and  he'll  take  an  ell. 

27.  God  helps  those  who  help  themselves. 

28.  Half  a  loaf  is  better  than  no  bread. 

29.  Handsome  is  as  handsome  does. 

30.  He  laughs  best  who  laughs  last. 

31.  Hitch  your  wagon  to  a  star. 

32.  Honesty  is  the  best  policy. 

33.  If  at  first  you  don't  succeed,  try,  try 

again. 

34.  In  fair  weather  prepare  for  foul. 

35.  It  is  an  ill  wind  that  blows  nobody 

good. 
3G.  It  is  a  long  lane  that  has  no  turning. 

37.  Least  said,  soonest  mended. 

38.  Listeners  hear  no  good  of  themselves. 
30.  Love  is  blind. 


COLLOQUIAL  FOR^IS  289 

40.  Love  laughs  at  locksmiths. 

41.  Make  hay  while  the  sun  shines. 

42.  Money  makes  the  mare  go. 

43.  More  haste,  less  speed. 

44.  Never  leave  till  tomorrow  that  which 

you  can  do  today. 

45.  No  cross,  no  crown. 

46.  Nothing  venture,  nothing  have. 

47.  One  good  turn  deserves  another. 

48.  Out  of  the  frying  pan  into  the  fire. 

49.  Paddle  your  own  canoe. 

50.  People     who    live    in    glass    houses 

shouldn't  throw  stones. 

51.  Practise  makes  perfect. 

52.  Pride  goeth  before  a  fall. 

53.  Procrastination  is  the  thief  of  time. 

54.  Sauce  for  the  goose  is  sauce  for  the 

gander. 

55.  Slow  but  sure. 

56.  Spare  the  rod  and  spoil  the  child. 

57.  Sow  the  wind  and  reap  the  whirlwind. 

58.  The  early  bird  catches  the  worm. 

59.  The  eves  serve  for  ears  to  the  deaf. 

60.  The    last    straw   broke    the    camel's 

back. 

61.  The  proof  of  a  pudding  is  in  the  eat- 

ing. 


290  LIP-READING 

62.  The  reward  of  perseverance  is  sure. 

63.  The  worm  will  turn. 

64.  There's  many  a  sHp  'tw  ixt  the  cup  and 

the  Hp. 

65.  Time  and  tide  w^ait  for  no  man. 

66.  Time  is  money. 

67.  Well  begun  is  half  done. 

68.  What  can't  be  cured  must  be  en- 

dured. 

69.  When  poverty  comes  in  at  the  door, 

love  flies  out  at  the  window. 

70.  When  the  cat  is  away  the  mice  will 

play. 

71.  Where  there's  a  will,  there's  a  way. 

72.  Where  there's  smoke,  there's  fire. 

73.  While  there's  life,  there's  hope. 

74.  You  may  lead  a  horse  to  water,  but 

you  cannot  make  him  drink. 

75.  Zeal  without  knowledge  is  the  sister 

of  follv. 


Colloquial  Forms 

341.  The  forms  that  are  given  below  for 
practise  are  especially  common  in  the  asking 
of  (|uestions.    The  first  few  words  of  a  question 


COLLOQUIAL  FORMS 


291 


are  frequently  the  key  to  the  whole.  To  lose 
them  means  failure;  to  get  them  means  suc- 
cess. The  value  of  the  repeated  practise  of 
these  forms,  thus  jBxing  them  in  the  visual 
memory,  is  therefore  apparent. 

The  practise  should  be  both  with  an  as- 
sistant and  with  the  mirror.  As  an  example 
for  the  practise  with  an  assistant,  take  the 
form,  "How  long."  The  assistant  should 
compose  sentences  beginning  with  the  form, 
and  following  it  with  each  of  the  auxiliary 
verbs  and  any  other  words  that  commonly 
do  follow  it.  Two  or  three  sentences  for  each 
auxiliary  verb  should  be  given ;  these  sentences 
should  be  varied  in  thought,  and  such  as  would 
be  apt  to  be  used  with  the  form.  Complete 
examples  are  here  given  for  the  form,  "How 
1 


ong. 


(1)  How  long  have  you  been  here? 

"     they  been  abroad  .^^ 

"     we  been  away  from  home? 

has  he  been  working? 

"    he  been  out  of  work? 

"    it  been  raining? 
had  the  storm  lasted? 

"    they  been  out  of  town? 


(t 


(( 


it 


it 


« 


it 


(( 
it 


292  LIP-READING 

How  long  had  you  waited  for  me? 
"         "    am  I  to  wait  for  you? 
"         "      "    I  to  practise  my  lesson? 
**         "    is    the  pencil? 
"    "     the  room? 
"    "     the  table? 

are   you  going  to  be  in  town? 
"     you  to  be  on  the  ocean? 
"         "      "     they  to  remain  AVest? 
"         "    was  the  concert? 
"         "      "    the  opera? 
"      "     the  play? 

were  they  in  the  city? 
"     you   on  your  vacation? 
"     they    to    be    abroad    this 

summer? 
will  you  be  away? 
"    they  be  in  town? 
"     he  keep  the  secret? 
would      you      be     willing     to 

wait? 
"         "       "     you  like  to  live  abroad? 
"         "       "     you  like  to  live? 
"         "    shall  we  put  up  with  it? 
"        "       "     I  boil  the  eggs? 
"         *'    should  we  wait  for  him? 
"        "       "I  chew  my  food? 


t(  << 


COLLOQUIAL  FORMS 


293 


How  Ion 


fy 


Si 

<< 
(< 
<< 

S( 

a 

St 

ss 

Si 

ss 
ss 

Si 

ii 

ii 
ii 
ii 

Si 

ss 
ii 
Si 
ti 
« 


do  you  think  it  will  rain? 

"     they    want    to    think    the 

matter  over? 

"    we  stop  at  Buffalo? 
does  he  expect  to  be  gone? 

"     he  stay  abroad? 

"     the  rainy  season  last? 
did  they  remain  South? 

"      the  storm  last? 

"      you  wait  for  me? 
may  we  use  the  'phone? 

"     I  keep  the  book? 

*'     we  have  for  study? 
might  I  have  to  walk? 

"     we  have  to  wait? 
can  you  keep  a  secret? 

"     you  hold  your  breath? 


it 


you  swnnj 


could  you  keep  quiet? 

"     they   walk   without   stop- 
ping? 
must  we  stav  here? 

"     I  practise  my  lesson? 
ought  we  to  rest? 

"     she  to  remain  South? 
before  you  will  come  back? 

"     she  goes  away? 


H  ii 


294  LIP-READING 

How  long  ago  were  you  in  Washington? 
"     were  you  abroad? 
since  you  left  New  York? 
"     you  saw  your  friend? 

In  practising  these  forms  before  the  mirror 
the  aim  should  be  to  famiHarize  the  eye  both 
with  the  form  and  with  the  auxiliary  verb 
that  follows  it.  Saying  the  complete  sentence, 
concentrate  (but  do  not  emphasize)  on  the 
form  "How  long";  then  repeat  the  sentence 
and  concentrate  on  the  auxiliary  verb.  The 
order  of  these  verbs  should  be  rearranged, 
bringing  together  for  contrast  and  comparison 
those  verbs  that  are  apt  to  be  confused.  The 
sentences  do  not  need  to  be  varied  save  as  the 
requirements  of  grammar  may  demand.  The 
sentences  given  below  will  illustrate  these 
points;  the  grouping  of  the  verbs  apt  to  be  con- 
fused is  indicated  by  the  separating  spaces.  Go 
over  each  group  many  times. 

How  long  has  he  been  here? 
"  does"  stay  "  ? 
"    is       "   to  be    "    ? 

"    has  he  been  here  ? 

"    had   "      "        "      ? 

can 


"    —    "    be        "      ? 


COLLOQUIAL  FORMS  295 

How  long  did  he  stay  here? 


(< 

ii 

is        " 

to  be    " 

m 

(C 

ii 

am   I 

to     be 

here? 

(t 

ii 

may 

he      " 

a       p 

• 

({ 

ii 

might 

ii       ii 

a      p 

• 

ti 

ii 

must 

ii       ii 

"      ? 

iC 

ii 

was    he     to  be  here? 

ti 

ii 

were  y 

ou  "     " 

• 

(( 

ii 

will 

"     be 

a       p 

it 

ii 

would 

a 

"       ? 

"  *'  would  you  stay  here? 
"  could  "  "  "  ? 
"    do  "       *'       "    ? 

"    shall     I  be  here? 
"    should "  ''     "    ? 

"  "  have  you  been  here? 
"  are  "  to  be  "  ? 
"    ought  "        "        "    ? 

It  is  well,  also,  after  having  used  the  mirror, 
to  practise  the  sentences  according  to  this 
grouping  with  your  assistant. 


296  LIP-READING 

The  methods  of  practise  indicated  for 
"How  long"  will  apply  also  to  the  other 
forms  which  are  here  tabulated  for  convenience 
of  use. 

(2)  How  much  have  you  left?    .     .     . 

has 

"had 


"  am   . 

"  is      . 

"  are   . 

"  was 

"  were 

"  will 

"  would 

"  shall 

"  should 

"  do    . 

"  does 

"  did   . 


may 

igl 


"     might  .    .    .    .  ; 


"  can  . 

"  could 

"  must 
(<         << 


ought 


time  have  you  left? 


COLLOQUIAL  FORMS  297 

How  much  money  will  it  take? 
"       better  this  will  be. 
"         "       worse  it  might  have  been. 


(3)  How  far  have  we  come? 

has 

(etc.,  using  all  auxiliary  verbs). 


How  far  away  is  the  river? 

up  the  street  is  the  house? 
down  shall  I  go? 
back  shall  I  sit? 
ahead  can  you  see? 
front  is  your  seat? 

(4)  How  many  have  you  told  about  it? 


"      hi 


IS 


(etc.,  using  all  auxiliary  verbs) 

How  many  people  were  there? 

mistakes  have  I  made? 
miles  an  hour  can  you  walk? 


<(  a 


(5)  How  soon  have  you  planned  to  come? 

has 

(etc.,  using  all  auxiliary  verbs) 


298  LIP-READING 

(6)  How  hard  have  you  tried? 

"       "has 

(etc.,     using     all    auxiliary    verbs) 

How  hard  it  rains! 

"       "     the  wind  blows! 

At  this  point  you  should  review  exercises 
1  to  6  inclusive,  skipping  around  from  one 
group  to  the  other.     For  example: 

How  long  has  he  been  here.'^ 
How  hard  will  he  work? 
How  many  have  been  invited? 
How  Jar  may  I  walk  with  you? 
How  soon  am  I  to  see  you?  etc. 

(7)  \Miat  have  you  done  for  him? 

"has 

(etc.,     using     all     auxiliary    verbs) 

(8)  Why  have  ' 

(etc.,     using     all     auxiliary     verbs) 

(9)  When  have 

(etc.,     using     all     auxiliary     verbs) 

(10)  Where  have 

(etc.,     using     all     auxiliary     verbs) 

(11)  Which  have 

(etc.,     using     all     auxiliary     verbs) 


COLLOQUIAL  FORMS 


299 


Which  book  do  you  want? 

"  house  do  vou  like  best? 

*'  way  shall  I  go? 

**  direction  shall  I  take? 

"  car  do  I  take? 

"  day  suits  you  best? 

"  hour  do  you  prefer? 

(12)  ^Mio  or  whom  have 

(etc.,    using    all    auxiliary    verbs) 

Exercises  7  to  12  inclusive  should  be  re- 
viewed in  the  same  manner  as  exercises 
1  to  6. 

(13)  Have  I  (we,  you,  they)       .... 

Has  he  (she,  it) 

Had  I  (he,  she,  it,  we,  you,  they) 

(etc.,  using  all  auxiliary  verbs  and 


all  pronoi 


(14)  Haven't 
Hasn't 
Hadn't 
Isn't     . 
Aren't 
Wasn't 
Weren't 
Won't  . 
Wouldn't 
Shan't 


ns). 


Shouldn't 

Don't  . 

Doesn't 

Didn't. 

INIayn't 

Mightn't 

Can't    . 

Couldn't 

Mustn't 

Oughtn't 


Contrast  Exercises  (13)  and  (14)  for  review 


300  LIP-READING 

(15)  Why  haven't 

"     hasn't 

(etc.,   using  all   negative  contraC" 
tions) 

(16)  I'm 

I'll 

I'd 

I've 

He's 

He'll        

He'd 

She's 

She'll 

She'd 

We're 

We'll        

We'd        

We've 

You're 

You'll 

You'd 

You've 

Thej^'re 

They'll 

Thcv'd 

They've       


SECTION  VI 

HOMOPHENOUS    WORDS 

243.  The  fact  that  the  sounds  in  several 
consonant  groups  have  the  same  visible 
movements  gives  rise  to  a  considerable  body 
of  homophenous  words — that  is,  words  that 
look  very  similar  or  alike.  The  two  sounds 
/  and  V  in  "few"  and  "view"  appear  exactly 
the  same  when  the  words  are  spoken  natur- 
ally. So  also  do  p,  b,  and  m  in  the  words 
"pie,"  "buy,"  and  "my."  Such  words  can- 
not be  told  apart  by  their  formation  unless 
the  movements  be  exaggerated;  and  exagger- 
ation, as  has  been  said  repeatedly,  is  something 
which  the  student  must  guard  against  most 
carefully  lest  false  impressions  be  made  and 
the  eye  be  taught  to  expect  facial  character- 
istics which  will  never  be  seen  in  ordinary 
conversation.  These  words  must  be  dis- 
tinguished, then,  not  by  their  formation,  but 
by  the  thought  or  context  in  which  they  are 
used. 

301 


302  LIP-READING 

The  problem  is  similar  to  that  which  con- 
fronts those  who  are  not  deaf  when  called  on 
to  distinguish  between  such  homophonous 
or  like-sounding  words  as  "seem"  and  "seam,'* 
"teem"  and  "team,"  "rough"  and  "ruff"; 
but  the  homophenous  words  far  outnumber 
the  homophonous,  and  by  just  so  much  is  our 
problem  more  difficult  of  solution.  And  yet 
it  is  not  so  serious  as  it  may  seem  at  first  sight. 
Take  the  two  words  "few"  and  "view" — it 
is  hard  to  conceive  of  a  sentence  in  which, 
if  the  rest  of  the  sentence  be  understood,  one 
of  these  words  could  be  mistaken  for  the 
other.    Surely  it  is  easy  enough  to  substitute 

the  right  word  in  "There  is  a  beautiful 

from  my  window^"  or  in,  "I  have  only  a 

minutes  to  spare."  Or  take  the  homophenous 
group,  "pie,"  "buy,"  and  "my,"— if  at  the 
table  you  should  be  asked:  "Will  you  have 

a  piece  of  apple ?"     I  think  you  would 

answer  "yes"  without  any  qualms  that  you 
might  be  eating  "buy"  or  "my."  Our  com- 
mon sense  solves  this  problem  for  us  so  fre- 
quently and  so  readily  that  the  seriousness 
of  it  is  much  less  than  anyone  without  the 
experience  would  suppose. 

In  part  the  method  of  solving  the  problem 


HOINIOPHENOUS  WORDS  303 

arising  from  homoplienous  words  is  by  such 
work  as  I  directed  in  Chapter  V  on  the  prac- 
tise with  stories — that  is,  practise  in  training 
the  mind  to  grasp  the  thought  as  a  whole. 
More  particularly,  however,  the  method  should 
be  devoted  to  exercises  with  homoplienous 
words  themselves.  Notice  first  the  origin 
of  such  words.  The  three  sounds,  p,  h,  and 
m,  looking  just  alike,  may  be  substituted  one 
for  the  other  in  so  far  as  the  substitution  per- 
mits forming  another  word.  In  the  word 
"boom,"  substitute  p  for  h,  and  also  p  for 
m,  and  you  have  "poop."  But  no  other  sub- 
stitutions are  possible  here,  for  if  we  try  to 
make  them  we  get  "poom,"  "poob,"  "boop," 
"moom,  "moop,"  and  "moob,"  none  of  which 
are  words.  Now,  remembering  again  that 
t,  d,  and  n  all  have  the  same  movement,  the 
flat-tongue-to-gum,  see  how  many  substitu- 
tions can  be  made  in  the  word  "bad"  so  as 
to  create  new  words  all  of  which  are  ho- 
moplienous. Bad,  bat,  ban,  band,  pad,  pat, 
pan,  pant,  mad,  mat,  man. 

The  sounds  which  have  homoplienous  for- 
mations are,  in  the  consonants,  (1)  p,  b,  m; 
(2)/,  v;  (3)  wh,  w;  (4)  s,  z,  soft  c;  (5)  sh,  zh,  ch,j, 
(soft  g) ;  (G)  /,  d,  n;  (7)  A*,  g,  ng,  ck  and  hard  c. 


304  LIP-READING 

The  last  two  of  these  groups  are  also  almost 
mutually  homophenous.  In  the  vowels  we 
have  no  absolutely  homophenous  sounds, 
though  short  e  and  long  a  are  so  nearly  alike 
as  to  be  exceedingly  difficult  to  distinguish 
except  by  the  context  of  the  sentence. 

The  list  of  homophenous  words  given  below 
does  not  by  any  means  exhaust  the  possi- 
bilities, but  it  is  a  fairly  complete  list  of  hom- 
ophenes  in  common  use.  I  arrange  them  ac- 
cording to  the  number  of  words  in  the  group, 
first  where  there  are  two  words  that  look  alike, 
then  three,  and  so  on.  For  one  lesson  or 
practise  period,  about  twenty  to  twenty-five 
words  may  be  used.  That  is  ten  to  twelve 
groups  of  two  words  each,  seven  or  eight  of 
three  words,  five  or  six  of  four  words,  four  or 
five  of  five  words,  etc. 

First,  the  student  should  memorize  the 
words  of  each  group  selected  for  practise — 
that  is,  he  should  know  each  and  all  of  the 
words  of  each  homophenous  group  so  that  he 
can  say  them  without  referring  to  the  printed 
page.  Try  the  words  also  before  the  mirror 
to  familiarize  yourself  with  their  formation. 

Then  compose  sentences  in  your  own  mind 
for  each  of  the  words,  as  many  sentences  as 


HOMOPHENOUS  WORDS  305 

are  naturallj'-  suggested  by  them.  The  sen- 
tences should  be  simple,  not  involved,  and 
the  aim  should  be  to  compose  the  sentences 
quickly,  not  to  stop  and  try  to  puzzle  them  out. 

Finally,  have  your  assistant  compose  for 
you  sentences  for  each  of  the  words.  Pref- 
erably he  should  write  the  sentences  down, 
and  then  read  them  to  you;  though  if  your 
assistant  be  apt  at  composing  the  sentences 
they  may  be  given  to  you  offhand.  In  any 
case  they  should  be  given  smoothly  and  with- 
out hesitation.  I  find  it  advisable  in  chang- 
ing from  one  group  to  another  to  tell  the  pupil 
only  one  of  the  words  in  the  new^  group,  and 
then  give  the  sentences  skipping  around — that 
is,  not  in  the  order  as  the  words  stand. 

I  will  give  as  examples  sentences  for  a  few 
of  the  groups  given  below: 

Abuse,  Amuse. — You  should  not  abuse  vour 
privileges.  Please  amuse  the  baby  for  an 
hour. 

Ascend,  ascent,  assent. — Will  you  ascend  the 
mountain?  I  gave  my  assent  to  the  plan. 
The  ascent  of  the  mountain  is  very  rough. 
W^ill  you  ascend  the  rough  ascent  of  the  moun- 
tain.'^ Will  you  give  your  assent  for  me  to 
ascend  the  rough  ascent  of  the  mountain.^ 


306  LIP-READING 

Air,  hair,  hare,  heir. — Do  you  feel  the  air 
from  the  window?  Did  vou  ever  hear  of  the 
race  between  the  hare  and  the  tortoise?  She 
has  beautiful  long  hair.  She  was  heir  to  a  large 
fortune. 

If  at  any  time  you  fail  to  understand  the 
sentence,  your  assistant  should  write  down  for 
3"0U  some  key  word  other  than  that  one  of  the 
homophenous  group  that  is  being  used.  In 
the  sentence,  "She  was  heir  to  a  large  for- 
tune," the  word  written  for  you  should  be 
"fortune,"  not  "heir."  Then  try  the  sen- 
tence again. 

The  fewer  the  words  in  a  group,  the  easier 
as  a  rule  will  the  sentences  be;  so  that  the 
arrangement  below  gives  the  groups  in  the 
order  of  difficulty. 

(1)  Two  words  in  a  group: 

abuse,  amuse 

allowed,  aloud 

bloom,  plume 

chair,  share 

chamois,  shabby 

choir,  quire 

class,  glass 

council,  counsel 

crease,  grease 


HOMOPHENOUS  WORDS  307 

dazzle,  tassel 

displace,  displays 

draft,  draught 

falls,  false 

fault,  vault 

ferry,  very 

fogs,  fox 

grand,  grant 

guessed,  guest 

handsome,  hansom 

home,  hope 

lessen,  lesson 

liar,  lyre 

myth,  pith 

nerve,  turf 

omen,  open 

one,  won 

phonograph,  photograph 

profit,  prophet 

rough,  ruff 

shame,  shape 

sin,  sit 

smell,  spell 

smoke,  spoke 

smudge,  sponge 

suite,  sweet 

thawed,  thought 

yoke,  yolk 


308  LIP-READING 

(2)  Three  words  in  a  group 
abound,  about,  amount 
act,  hacked,  hanged 
ascend,  ascent,  assent 
aught,  awed,  ought 
beach,  beech,  peach 
bhd,  burn,  pert 
bhish,  phmge,  plush 
chain,  jade,  shade 
clam,  clamp,  clap 
chop, job,  shop 
cold,  colt,  gold 
crack,  crag, crank 
croup,  groom,  group 
dime,  time,  type 
ear,  hear,  here 
elm,  helm,  help 
float,  flowed,  flown 
foul,  fowl,  vowel 
hoes,  hose,  owes 
honor,  otter,  odder 
idle,  idol,  idyl 
jiggle,  jiuglc,  shingle 
lack, lag, lank 
luck,  lug,  lung 
meal,  peal,  peel 
plum,  plumb,  plump 


Ho:\ioriiENOUS  words        sog 

rabbit,   rabid,  rapid 
ran,  rant,  rat 
ram,  rap,  wrap 
roam,  robe,  rope 
run,  runt,  rut 
search,  serge,  surge 
shone,  sliowed,  shown 
slab,  slam,  slap 
sleight,  slide,  slight 
snare,  stair,  stare 
snub,  stub,  stump 
some,  sum,  sup 
swab,  swamp,  swap 
thick,  thing,  think 
throat,  throne,  thrown 
tread,  dread,  trend 
which,  wish,  witch 

(3)  Four  words  in  a  group: 

aid,  ate,  eight,  hate 
air,  hair,  hare,  heir 
all,  awl,  hall,  haul 
barge,  march,  marsh,  parch 
battle,  paddle,  mantel,  mantle 
beak,  meek,  peak,  peek 
birch,  merge,  purge,  perch 
black,  blank,  plank,  plaque 


310  LIP-READING 

bump,  mum,  pump,  pup 

cab,  camp,  cap,  gap 

choose,  chews,  juice,  shoes 

come,  cub,  cup,  gum 

creed,  greed,  green,  greet 

crutch,  crunch,  crush,  grudge 

colonel,  kernel,  curdle,  ghdle 

dale,  nail,  tail,  tale 

dame,  name,  tame,  tape 

deep,  deem,  team,  teem 

die,  dye,  tie,  nigh 

doubt,  down,  town,  noun 

gild,  gilt,  guilt,  killed 

ground,  crowd,  crown,  crowned 

him,  hip,  hymn,  imp 

hinge,  hitch,  inch,  itch 

money,  muddy,  putty,  bunny 

raise,  race,  rays,  raze 

rank, rack,  rag,  rang 

sack, sag,  sang,  sank 

scene,  scat,  seed,  seen 

spine,  smite,  spied,  spite 

stud,  stun,  stunt,  stunned 

straight,  strained,  strait,  strayed 

truck,  drug,  drunk,  trunk 

wad,  wan,  wand,  what 

wait,  wade,  wane,  weight 


HUMOriiENOUS  WORDS  311 

(4)  Five  words  in  a  group: 

beer,  bier,  mere,  peer,  pier 

bob,  mob,  mop,  pop,  bomb 

braid,  brain,  brayed,  prate,  prayed 

bustle,  muscle,  mussel,  muzzle,  puzzle 

chewed,  chute,  June,  jute,  shoot 

crab,  cram,  cramp,  grab,  gramme 

dim,  dip,  tip,  nip,  nib 

dose,  doze,  toes,  nose,  knows 

duck,  dug,  tongue,  tuck,  tug 

earn,  heard,  herd,  hurt,  urn 

guide,  guyed,  kind,  kine,  kite 

hues,  hews,  ewes,  yews,  use 

led,  lead,  lend,  lent,  let 

missile,  missal,  mistle,  pistil,  pistol 

neat,  knead,  need,  dean,  deed 

plant,  bland,  plaid,  plan,  plat 

rig,  rick,  ring,  rink,  wring 

right,  ride,  rind,  rite,  write 

shun,  jut,  shunt,  shut,  shunned 

staid,  stayed,  stained,  state 

whig,  wick,  wig,  wing,  wink 

white,  whine,  wide,  wind,  wine 

(5)  Six  words  in  a  group: 

add,  at,  had,  hand,  hat,  ant 
badge,  batch,  match,  patch,  mash 


312  LIP-READING 

back,  bag,  bang,  bank,  pack,  pang 
banner,  banter,  batter,  manner,  mat- 
ter, patter 
bare,  bear,  mare,  pair,  pare,  pear 
bud,  but,  bun,  butt,  mud,  pun 
can,  canned,  cant,  can't,  cad,  cat 
cent,  scent,  sent,  send,  said,  set 
coat,  code,  cone,  cote,  goad,  goat 
crate,  crane,  grade,  grain,  grate,  great 
done,  dun,  ton,  none,  nun,  nut 
fad,  fan,  fat,  van,  vat,  fanned 
knot,  nod,  not,  dot,  tot,  don 
raid,  rain,  rained,  rate,  reign,  reigned 
road,  roan,  rode,  rote,  rowed,  wrote 

(6)  Seven  words,  in  a  group: 

bold,  ])olt,  mold,  molt,  poled,  bowled, 

polled 
Dound,  bout,  bowed,  mound,  mount, 

pound,  pout 
brick,  brig,  bring,  brink,  prick,  prig, 

prink 
dal),  dam,  damp,  nap,  nab,  tab,  tap 
side,  cite,  sighed,  sight,  sign,  signed, 

site 
wed,  wen,  wend,  went,  wet,  when,  whet 


HOMOPHENOUS  WORDS  313 

(7)  Eight  words  in  a  group: 

been,  bin,  pin,  bit,  bid,  pit,  pinned, 

mitt 
dead,  debt,  den,  dent,  net,  ten,  tend, 

tent 
don't,  dote,  tone,  toned,  towed,  toad, 

note,  known 
medal,  meddle,  mettle,  metal,  pedal, 

peddle,  petal,  mental 

(8)  Nine  words  in  a  group : 

bead,  bean,  beat,  beet,  mean,  meat, 

meet,  peat,  mien 
baize,  base,  bass,  bays,  mace,  maize, 

maze,  pace,  pays 
dew,    due,    do,    to,    too,    two,    new, 

knew,  knu 
buck,  bug,  bunk,  muck,  pug,  bung, 

monk,  mug,  punk 

(9)  Ten  words  in  a  group: 

bend,    bent,    mend,    meant,    penned, 

pent,  bed,  pen,  bet,  pet 
boat,  bone,  bode,  mode,  moan,  mote, 

moat,  mowed,  mown,  moaned 
died,    dine,    dyed,    tide,    tied,    tight, 

tine,  night,  knight,  nine 


314  LIP-READING 

(10)  Twelve  words  in  a  group: 

bite,  bide,  mite,  might,  pied,  bind, 
mind,  pint,  pine,  pined,  mine,  mind 

fade,  fane,  fate,  feint,  vain,  faint, 
feign,  feigned,  fete,  vane,  vein, 
veined 

(11)  Fourteen  words  in  a  group: 

bad,  mad,  pad,  bat,  mat,  pat,  ban, 

pan,  pant,  man,  banned,  panned, 

band,  manned 
bait,  bane,  bayed,  made,  maid,  main, 

mate,  mane,  paid,  pate,  pane,  pain, 

paint,  pained 

Enough  material  is  given  above  to  keep  the 
student  occupied  for  some  time.  Do  not,  how- 
ever, devote  all  your  time  for  practise  in  one 
day  to  this,  or  to  any  other  one  thing.  Re- 
member that  it  is  the  varied,  all-around  prac- 
tise that  develops  the  best  lip-reader.  After 
the  homophenous  words  given  have  been  com- 
pleted, go  through  them  again  in  review. 

In  addition  it  will  be  found  hel{)ful  to  do 
original  work  in  thinking  out  groups  of  ho- 
mophenous words  for  yourself.  (liven  one 
word,    try    to  find   all   possible  honioi)lienes; 


HOMOPHENOUS  ^YORDS 


315 


and  when  you  have  found  them,  practise  as 
previously  directed,  I  give  herewith  a  few 
words  which  will  serve  as  a  basis  for  this  work, 
but  when  this  list  is  exhausted,  select  other 
words  yourself  from  any  source: 


(12)  whom 

creep 

chord 

baggage 

beam 

dry 

malt 

brace 

prove 

eve 

fur 

firm 

brim 

whip 

pew 

five 

buy 

ripe 

birth 

leaf 

love 

owl 

flower 

pull 

poor 

light 

fight 

warm 

pod 

spear 

hiss 

strive 

muss 

jam 

push 

tell 

friend 

aim 

fair 

comb 

A  still  further  source  of  material  may  be 
found  in  my  pamphlet  "The  Use  of  Ho- 
mophenous  Words,"  published  by  The  Volta 
Bureau,  Washington,  D.  C. 


APPENDICES 


APPENDIX  A 
TABLE  OF  VOWELS  AND  DIPHTHONGS 


Accented  Vowels 

Example 

Movements 

long  a 

face 

extended-medium  + 
relaxed-narrow 

short  a 

mat 

extended-wide 

Italian  a  (ah) 

far 

reiaxed-wide 

broad  a  (aw) 

awe 

puckered-wide 

a  before  strong  r 

tare 

extended-medium 

long  e 

be 

extended-narrow 

short  e 

iXei 

extended-medium 

e  before  strong  r 

ii  eix-c 

relaxed-narrow 

long  i 

giant 

relaxed-wide  + 
relaxed-narrow 

short  i 

pit 

relaxed-narrow 

long  o 

ope 

puckered-wide  -h 
puckered-variable 

short  6 

con,  off 

relaxed-wide,  or 
puckered-witle 

o  before  strong  r 

ore 

puckered-wide 

long  do 

too 

puckered-narrow 

short  6b 

hiW 

puckered-medium 

do  before  strong  r 

sure 

puckered-medium 

ow,  ou 

how,  out 

relaxed-wide  + 
puckered-variable 

oy 

hoy 

puckered-wide  + 
relaxed-narrow 

long  u 

acci/se 

relaxed-narrow  + 
puckered-narrow 

short  ii 

up 

relaxed-medium 

a  before  r 

cure 

relaxed-narrow  -\- 
pu(  kered-niedium 

318 


Unaccented  Vowels 

Example 

Movements 

long  a 

surface 

relaxed-n  arrow,  or 
relaxed-medium 

short  a 

material 

relaxed-medium 

Italian  a  (ah) 

sofa 

relaxed-medium 

broad  a  (aw) 

OMgUSt 

(adj.) 

puckered-wide,  or 
relaxed-medium 

a  before  strong  r 

elementary 

relaxed-narrow,  or 
relaxed-medium 

long  e 

befall 

relaxed-narrow,  or 
relaxed-medium 

short  e 

target 

relaxed-narrow,  or 
relaxed-medium 

e  before  strong  r 

ferocious 

relaxed-narrow,  or 
relaxed-medium 

long  I 

gigantic 

relaxed-narrow,  or 
relaxed-medium 

short  1 

pulpit 

relaxed-narrow,  or 
relaxed-medium 

long  6 

opinion 

relaxed-medium 

short  6 

convince, 
official 

relaxed-medium 

o  before  stronu-  r 

oration 

relaxed-medium 

long  do 

today 

puckered-medium, 
or  relaxed-medium 

short  d«i 

awful 

relaxed-medium 

oo  before  strong  r 

eraswre 

relaxed-medium 

long  u 

accMsation 

rel.-nar.-Hpuck.-raed., 
or  rel-nar-hrel.-med. 

short  u 

upon 

relaxed-medium 

u  before  r 

accurate 

relaxed-narrow  -t- 
relaxed-mcdium 

319 


APPENDIX  B 

TABLE  OF  CONSONANTS 

The  consonants  are  here  arranged  alphabetically  for 
convenience  of  reference. 

b,  as  in  "bat,"  lip-shut 
c  (soft)  as  in  "cent,"  tremor-at-corners 
c  (hard),  as  in  "cat,"  throat  movement 
ch  (soft),  as  in  "church,"  lip-projected 
ch  (hard),  as  in  "choir,"  throat  movement 
d,  as  in  "die,"  flat-tongue-to-gum 
f,  as  in  "few,"  lip-to-teeth 
g  (soft),  as  in  "gem,"  lip-projected 
g  (hard),  as  in  "go,"  throat  movement 
h,  as  in  "he,"  no  movement 
j,  as  in  "jam,"  lip-projected 
k,  as  in  "kin,"  throat  movement 
1,  as  in  "leaf,"  pointed-tongue-to-gum 
m,  as  in  "my,"  lip-shut 
n,  as  in  "nigh,"  fiat-tongue-to-gum 
ng,  as  in  "rang,"  throat  movement 
nk,  as  in  "rank,"  throat  movement 
p,  as  in  "pie,"  lip-shut 
ph,  as  in  "sylph,"  lip-to-teeth 
q,  as  in  "(piart,"  throat  movement 
r,  as  in  "reef,"  puckered-corners 
s,  as  in  "saw,"  tremor-at-corners 

no 


APPENDIX  B  321 

sh,  as  in  "ship,"  lip-projected 

t,  as  in  "tic,"  flat-tonguc-to-gum 

th,  as  in  "thigh,"  and  "thy,"  tongue-to-teeth 

V,  as  in  "view,"  lip-to-tccth 

w,  as  in  "war,"  puckered-variablc 

wh,  as  in  "wharf,"  puckcred-variable 

X,  as  in  "box,"  throat  movement +trcnior-at-comers 

X,  as  in  "Xenia,"  tremor-at-corners 

y,  as  in  "you,"  rclaxcd-narrow 

z,  as  in  "zone,"  tremor-at-corncrs 

z  (zh),  as  in  "azure,"  lip-projected 


APPENDIX  C 

BIBLIOGRAPHY  OF  BOOKS  ON  LIP-READING 

Instruction  Books 

Belanger  (Adolphe),  La  Lecture  sur  Ics  Levres;  Ate- 
lier Typographique  de  I'lnstitution  Nationale 
des  Sourds-Muets,  Paris. 

Bell  (Alexander  Melville),  Facial  Speech  Reading  and 
Articulation  Teaching;  Volta  Bureau,  Wash- 
ington, D.  C. 

BouDiN  (Etienne),  La  Surditd:  Moyen  d'y  Remedier 
par  la  Lecture  sur  les  Levres;  A.  Maloine,  Paris. 

BouLTBEE  (E.  F.),  Practical  Lip-Reading;  L.  U.  Gill, 
London. 

CouPLiN  (Mary),  How  to  Understand  Without  Sound; 
W.  H.  Needham  Co.,  Sigourney,  la. 

DuEBUScn  (F.),  Der  Absohuntorricht  mit  Schwer- 
horigen  und  Ertaul)ten;  Berlin. 

Drouot  (E.),  La  Lecture  sur  les  Levres;  Chez  TAuteur, 
19,  rue  Vauqu<'>lin,  Paris. 

GuTZMANN  (Hermann),  Facial  Speech  Reading;  Volla 
Bureau,  Washington,  D.  C. 

IIartmann  (Arthur),  Lehr-und  Lcrnbuch  fiir  Schwer- 
horige  zur  Erlernung  dcs  A'osehens  vom  INIunde; 
J.  I'\  Berginnnn,  Wiesbaden. 

Hewett  (E.  K.),  Lip-H«'a(liiig  for  the  Deaf;  The  Hare- 
wood  Press.  London. 

822 


APPENDIX  C  323 

Mlllek    (J^ulius),   Das   Absehen   der   Schwerhorigen; 

Johannes  Kriebel,  Hamburg. 
NiTCiiiE  (Edward  B.),  Self-Instructor  in  Lip-Reading; 

Lessons    in    Lip-Reading    for    Self-Instruction; 

Lip-Reading  Simplified;  Lessons  in  Lip-Reading, 

Revised  Edition,  and  accompanying  Teachers' 

Handbook;  Surdus  Publishing  Company,  New 

York. 
Parsons   (Mary   Hepburn),  The   Reading  of  Speech 

from    the    Lips;    Akerman    Company,    Provi- 
dence, R.  L 
RoTZER   (Franz  Xaver),  Ubungsbuch  ftir  Schwerhor- 

ige  und  Ertaubte  Das  Ablesen  vom  Munde;  R. 

Oldenbourg,  IMiinchen  and  Berlin. 
Snow  (Emma),  My  List  of  Ilomophenous  Words;  Volta 

Bureau,  ^Yashington,  D.  C. 
Story  (A.  J.),  Speech-Reading;  Yellon,  Williams  &  Co., 

Ltd.,  London. 
WoLLERMANN    (Rudolf,    Otto,    und    Emil),    Lehr-und 

Lernbuch  fur  den  Absehunterricht;  Teetzmann 

&  Randel,  Stettin. 

Historical  or  Suggestive 
Report  of  Fourth  Summer  Meeting  of  the  A.  A.  P.  T. 
S.  D., — the  following  addresses:  Experiences 
in  Lip-Reading,  S.  G.  Davidson;  Experiences 
of  a  Speech-Reader,  Mrs,  Sylvia  C.  Balis; 
"Further  Contribution  to  the  study  of  that 
Subtile  Art  which  may  Inable  one  with  an  Ob- 
servant Eie  to  Ilea  re  what  any  Man  Speaks 
by  the  Moving  of  the  Lips,"  Mrs.  Alexander 
Graham  Bell;  The  Teaching  of  Speech-Reading 


324  APPENDIX  C 

to  Adults,  Sarah  Allen  Jordan;  Speech-Reading, 
Susan  E.  Bliss;  Speech-Reading,  Mabel  Ellery 
Adams;  Volta  Bureau,  Washington,  D.  C. 

JoxES  (Mary  Davis),  Some  Suggestions  about  Lip- 
Reading;  Volta  Bureau,  Washington,  D.  C. 

Kennedy  (Mildred),  INIirror  Practise  as  an  Aid  to  Lip- 
Reading;  Volta  Bureau,  Washington,  D.  C. 

Books  on  Allied  Subjects 

Bell  (Alexander  Graham),  The  Mechanism  of  Speech; 

Funk  &  Wagnalls  Company,  New  York. 
Bell  (Alexander  Melville),  Sounds  and  Their  Relations, 

and  also  other  works  on  Visible  Speech;  Volta 

Bureau,  Washington,  D.  C. 
Carruthers  (S.  W.),  a  Contribution  to  the  IMcchan- 

ism  of  Articulate  Speech;  The  Edinburgh  ?*Icd- 

ical  Journal,   Edinburgh. 
Way    (Daisy   M.),   The   Whipple  Natural  Alphabet; 

A'olta  Bureau,  Washington,  D.  C. 


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